Back Issue #70 by TwoMorrows Publishing

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INCREDIBLE HULK IN THE BRONZE AGE!

HULK COMICS OF THE ’70s & ’80s • HULK AS A TEAM PLAYER • INSIDE HULK’S HEAD • ABOMINATION VILLAIN HISTORY • HULK ON TV & MORE!

THE RETRO COMICS EXPERIENCE!

Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments like “Pro2Pro” (dialogue between professionals), “BackStage Pass” (behind-the-scenes of comicsbased media), “Greatest Stories Never Told” (spotlighting unrealized comics series or stories), and more!

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“JLA in the Bronze Age”! The “Satellite Years” of the ‘70s and early ‘80s, with BUCKLER, ENGLEHART, PÉREZ, and WEIN, salute to DICK DILLIN, the Justice League “Detroit” team, with CONWAY, PATTON, McDONNELL, plus CONWAY and GEOFF JOHNS go “Pro2Pro” on writing the JLA, unofficial JLA/Avengers crossovers, and Marvel’s JLA, the Squadron Supreme. Cover by McDONNELL and BILL WRAY!

“Toon Comics!” History of Space Ghost in comics, Comico’s Jonny Quest and Star Blazers, Marvel’s Hanna-Barbera line and Dennis the Menace, behind the scenes at Marvel Productions, Ltd., and a look at the unpublished Plastic Man comic strip. Art/comments by EVANIER, FOGLIO, HEMPEL and WHEATLEY, MARRS, RUDE, TOTH, WILDEY, and more. All-new painted Space Ghost cover by STEVE RUDE!

“Halloween Heroes and Villains”! JEPH LOEB and TIM SALE’s chiller Batman: The Long Halloween, the Scarecrow (both the DC and Marvel versions), Solomon Grundy, Man-Wolf, Lord Pumpkin, Rutland, Vermont’s Halloween parades, and… the Korvac Saga’s Dead Avengers! With commentary from and/or art by CONWAY, GIL KANE, LOPRESTI, MOENCH, PÉREZ, DAVE WENZEL, and more. Cover by TIM SALE!

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“Tabloids and Treasuries,” spotlighting every all-new tabloid from the 1970s. Superman vs. the Amazing Spider-Man, The Bible, Captain America’s Bicentennial Battles, The Wizard of Oz, even the PAUL DINI/ALEX ROSS World’s Greatest Super-Heroes editions! Commentary and art by ADAMS, GARCIA-LOPEZ, GRELL, KIRBY, KUBERT, MAYER, ROMITA SR., TOTH, and more. Wraparound cover by ALEX ROSS!

“Superman in the Bronze Age”! JULIUS SCHWARTZ, CURT SWAN, Superman Family, World of Krypton miniseries, and ALAN MOORE’s “Whatever Happened to the Man of Tomorrow?”, art & comments by ADAMS, ANDERSON, CARDY, CHAYKIN, PAUL KUPPERBERG, OKSNER, O’NEIL, PASKO, ROZAKIS, SAVIUK, and more. Cover by GARCÍA-LÓPEZ and SCOTT WILLIAMS! Edited by MICHAEL EURY.

“British Invasion” issue! History of Marvel UK, Beatles in comics, DC’s ‘80s British talent pool, V for Vendetta, Excalibur, Marshal Law, Doctor Who, “Pro2Pro” interview with PETER MILLIGAN & BRENDAN McCARTHY, plus BERGER, BOLLAND, DAVIS, GIBBONS, STAN LEE, LLOYD, MOORE, DEZ SKINN, and others. Fold-out triptych cover by RON WILSON and DAVE HUNT of Marvel UK’s rare 1970s “Quadra-Poster”!

“Bronze Age Backup Series”! Green Lantern, Green Arrow, Black Canary, Metamorpho, GOODWIN and SIMONSON’s Manhunter, PASKO and GIFFEN’s Dr. Fate, “Whatever Happened To…?”, Nemesis, Rose and the Thorn, Seven Soldiers of Victory, art and commentary by CARY BURKETT, JOHN CALNAN, DICK GIORDANO, MIKE GRELL, ELLIOT S! MAGGIN, DAN SPIEGLE, cover by GRELL and JOE RUBINSTEIN.

“Bronze Age B-Teams”! Defenders issue-byissue overview, Champions, Guardians of the Galaxy, Inhumans, PETER DAVID’s X-Factor, Teen Titans West, Legion of Substitute Heroes, an all-star chatfest of Doom Patrol interviews, plus art and commentary by ROSS ANDRU, SAL BUSCEMA, KEITH GIFFEN, TONY ISABELLA, PAUL KUPPERBERG, ERIK LARSEN, GEORGE PÉREZ, BOB ROZAKIS, cover by KEVIN NOWLAN.

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“Bronze Age Team-Ups”! Marvel Team-Up and Two-in-One, Super-Villain Team-Up, CLAREMONT and SIMONSON’s X-Men/New Teen Titans, DC Comics Presents, SuperTeam Family, HANEY and APARO’s Batman of Earth-B(&B), Superman/Captain Marvel smackdowns, plus art and commentary by BUCKLER, ENGLEHART, GARCÍA-LÓPEZ, GIFFEN, LEVITZ, WEIN, and a classic GIL KANE cover inked anew by TERRY AUSTIN.

“Heroes Out of Time!” Batman: Gotham by Gaslight with MIGNOLA, WAID, and AUGUSTYN, Booster Gold with JURGENS, X-Men: Days of Future Past with CHRIS CLAREMONT, Bill & Ted with EVAN DORKIN, interview with P. CRAIG RUSSELL, “Pro2Pro” with Time Masters’ BOB WAYNE and LEWIS SHINER, Karate Kid, New Mutants: Asgardian Wars, and Kang. Mignola cover.

“1970s and ‘80s Legion of Super-Heroes!” LEVITZ interview, the Legion’s Honored Dead, the Cosmic Boy miniseries, a Time Trapper history, the New Adventures of Superboy, Legion fantasy cover gallery by JOHN WATSON, plus BATES, COCKRUM, CONWAY, COLON, GIFFEN, GRELL, JANES, KUPPERBERG, LaROCQUE, LIGHTLE, SCHAFFENBERGER, SHERMAN, STATON, SWAN, WAID, & more! COCKRUM cover!

TENTH ANNIVERSARY ISSUE! Revisit the 100th, 200th, 300th, 400th, and 500th issues of ‘70s and ‘80s favorites: Adventure, Amazing Spider-Man, Avengers, Batman, Brave & Bold, Casper, Detective, Flash, Green Lantern, Showcase, Superman, Thor, Wonder Woman, and more! With APARO, BARR, ENGLEHART, POLLARD, SEKOWSKY, SIMONSON, STATON, and WOLFMAN. DAN JURGENS and RAY McCARTHY cover.

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Volume 1, Number 70 February 2014 Celebrating the Best Comics of the '70s, '80s, '90s, and Beyond!

Comics’ Bronze Age and Beyond! TM

EDITOR-IN-CHIEF Michael “Doc Banner” Eury PUBLISHER John “The Leader” Morrow DESIGNER Rich “Rick Jones” Fowlks COVER ARTISTS Herb Trimpe and Gerhard (art from the collection of Charles Costas) COVER DESIGNER Michael “Thunderbolt” Kronenberg

SPECIAL THANKS David T. Allen Mark Arnold John Bligh Rich Buckler Steve Bunche Sal Buscema Kurt Busiek Jarrod Buttery Dewey Cassell John Cimino Chris Claremont Gerry Conway Peter David Daniel DeAngelo Ronnie Deen Gerard DiPego Jo Duffy Barry Dutter Steve Englehart Chris Franklin Dr. Sigmund Freud Russ Garwood Grand Comic-Book Database Steven Grant Glenn Greenberg Nicholas Guarracino Larry Hama Ed Hannigan Zaki Hasan

Brian Heiler Karl Heitmueller, Jr. Heritage Comics Auctions Joe Hollon Tony Isabella Kenneth Johnson Greg Kirkman David Anthony Kraft Alan Kupperberg Christopher Larochelle Larry Lieber Andy Mangels Michael Mantlo Marvel Comics Bob McLeod Al Milgrom Gary M. Miller Richard Morgan Pamela Mullen Greg Pak Greg Plonowski Dr. Leonard Samson Jason Shayer Roger Stern Roy Thomas Herb Trimpe Timothy Tuohy Len Wein

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BACK SEAT DRIVER: Editorial by Michael Eury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 DC Comics’ Hulkmania during the summer of ’66 FLASHBACK: Hulk Smash: The Incredible Hulk in the 1970s . . . . . . . . . . . . . . . . . . . . . . .3 Creators galore recall the decade of Jim Wilson, Jarella, Wolverine, Hulking out, and more BACKSTAGE PASS: The Televised Hulk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Series creator Kenneth Johnson certainly isn’t jaded when recalling this TV smash EPISODE GUIDE: The Incredible Hulk TV Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 PRINCE STREET NEWS: TV Hulk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 Richard Simmons as the Hulk? Karl Heitmueller, Jr. is at it again! FLASHBACK: All About the Green: Hulk Merchandise in the BACK ISSUE Era . . . . . . . . . .34 Admit it—you’ve got a Hulk Mego on your shelf… FLASHBACK: Smashing into Syndication: The Incredible Hulk Newspaper Strip . . . . . . . .37 Hulk smash Peanuts! When Ol’ Greenskin was read in black-and-white WHAT THE--?!: Teen Hulk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 Hulkmania (the incredible kind) spawned this Crazy magazine satire BRING ON THE BAD GUYS: The Abomination: Diary of a Mad Monster . . . . . . . . . . . . .45 Is Emil Blonsky playing with a full deck? FLASHBACK: Hulk Smash More: The Incredible Hulk in the 1980s . . . . . . . . . . . . . . . . . .50 The eras of two longtime Hulk scribes, Bill Mantlo and Peter David BACKSTAGE PASS: The Incredible Hulk 1982 Animated Series . . . . . . . . . . . . . . . . . . . . . .64 The Saturday morning success of some amazing friends led to this super-toon FLASHBACK: Teaming Up with the Hulk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67 The Hulk as a “team player” in The Defenders and Marvel Team-Up OFF MY CHEST: Three Men and a Little Psyche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72 How Mantlo, David, and Freud redefined the Incredible Hulk BACK TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76 Reader feedback on BI #65 and more BACK ISSUE™ is published 8 times a year by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor-in-Chief. John Morrow, Publisher. Editorial Office: BACK ISSUE, c/o Michael Eury, Editor-in-Chief, 118 Edgewood Avenue NE, Concord, NC 28025. Email: euryman@gmail.com. Six-issue subscriptions: $60 Standard US, $85 Canada, $107 Surface International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Cover art by Herb Trimpe and Gerhard. The Incredible Hulk and Wolverine TM & © Marvel Characters, Inc. All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2014 Michael Eury and TwoMorrows Publishing except Prince Street News, TM & © Karl Heitmueller, Jr. BACK ISSUE is a TM of TwoMorrows Publishing. ISSN 1932-6904. Printed in China. FIRST PRINTING. Hulk in the Bronze Age Issue

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Detail from the cover of the 1978 The Incredible Hulk trade paperback published by Fireside. Art by Bob Larkin. Hulk TM & © Marvel Characters, Inc.

PROOFREADER Rob “Doc Samson” Smentek

With the kind indulgence Roy Thomas, editor of our sister publication Alter Ego, which surveys the Golden and Silver Ages of Comics, I’d like to share with BACK ISSUE readers my first childhood memory of the Incredible Hulk. It was late August of 1966, and I was eight years old, living in my hometown of Concord, North Carolina. TV’s Batman was the rage, and I was utterly obsessed with the Caped Crusader, his live-action portrayal by Adam West pointing me to his four-color roots in comic books. Joining my dad on his weekly sojourn to Williams Candy Kitchen for the newest Sporting News, I plopped onto my chubby knees in front of the Candy Kitchen’s immense “funnybook” rack, transfixed upon the most bizarre yet enticing Batman comic I had ever seen (up to that point, at least): The Brave and the Bold #68 (cover-dated Oct.–Nov. 1966). It promised a team-up between Batman and some weirdo I’d never heard of, Metamorpho the Element Man. There, on the Mike Sekowsky/Joe Giella cover, were three of the Caped Crusader’s most dastardly foes—the Joker, the Penguin, and the Riddler, looking very much like I recognized them from TV—but something was wrong with Batman…! His shoulders, arms, and hands were brutish, and his legs were oddly foreshortened. He cast quite a ghastly appearance (and was even more frightening in the story inside, with his fiery hands and creepy smirk). The screaming yellow burst above the logo attempted to explain away this massive mutant passing himself off as my hero—“Look below! Batman becomes Bat-Hulk!”— but that meant nothing to me. I had yet to discover the real Hulk. But at least the word “hulk” was now in my burgeoning vocabulary. B&B #68 was actually the third cover appearance of a Hulk analog on a DC comic that very summer. The first appeared on Showcase #63 (July–Aug. 1966), an Inferior Five tryout issue, where the nebbish Merryman was the last Inferior standing opposite a jade giant (wearing purple gym shorts!) called Man-Mountain. Its story offered an alliterative secret identity for Man-Mountain (Brute Brainard) and included parodies of other Marvel characters. Released around the same time was a cover appearance by DC’s own “Hulk,” Blockbuster, Batman’s beatnik bad guy, punching superheroes alongside the marshland-spawned behemoth Solomon Grundy (who’s quite Hulk-ish in his own right), on Justice League of America #46 (Aug. 1966). Was there a memo generated among DC’s editors that year to riff on Marvel’s Incredible Hulk? That’s hardly likely, as Ol’ Greenskin was still building a readership back then, sharing space with co-feature Sub-Mariner in the pages of Tales to Astonish and preparing to be seen on TV in September 1966 as one of the rotating characters in the rudimentarily animated The Marvel Super Heroes series. These DC “Hulk” outings of the summer of ’66 are probably just an unusual coincidence. It was via television that I first met the real Hulk—but not in the cartoon mentioned above, as it wasn’t syndicated onto any of the five (yes, only five!) stations available back then in the Charlotte market. Premiering on Saturday morning, September 9, 1967 were animated versions of The Fantastic Four and Spider-Man, introducing me to those Marvel flagship favorites … and, as a result, Marvel’s comic-book versions of those heroes, titles I had previously ignored given my Batmania (and subsequent DC fever). As Batman invited me into the larger DC Universe, FF, Spidey, and their interior Marvel Bullpen Bulletins and Stan’s Soapbox features opened the door to the House of Ideas, and before too long The Incredible Hulk was added to my reading list. Still, I will never forget that my first Hulk experience was courtesy of the Distinguished Competition!

2 • BACK ISSUE • Hulk in the Bronze Age Issue

Michael Eury

TM & © DC Comics.

It’s one of comics’ iconic origins: On a dare, teenager Rick Jones drives onto a military weapons-testing site. Spying the teenager, Dr. Robert Bruce Banner races out, pushes Rick into a trench, but is himself caught in the detonation of the gamma bomb. That evening, as a nearby Geiger counter runs wild, Banner undergoes a strange transformation...

DOC BRUCE BANNER, BELTED BY GAMMA RAYS…

Jarrod Buttery

The Incredible Hulk #1, by Stan Lee and Jack Kirby, debuted in March 1962, with a May cover date. Besides the Hulk, Bruce Banner, and Rick Jones, this first issue also introduced Betty Ross—the girl whom Banner loved (and vice-versa), and her father—General “Thunderbolt” Ross, who was to become the Hulk’s most implacable adversary. The first incarnation of the Hulk’s title lasted six bimonthly issues. Thereafter, the Hulk joined (and left) the Avengers, and also made guest appearances in Fantastic Four, Amazing Spider-Man, and the Giant-Man strip in Tales to Astonish #59 (Sept. 1964). This led to the Hulk’s second ongoing series, becoming that title’s co-feature in TtA #60 (Oct. 1964). With issue #102 (Apr. 1968) the title changed to The Incredible Hulk. Herb Trimpe came on board as penciler with issue #106 (Aug. 1968) and stayed until issue #193 (Nov. 1975), missing only two issues in an incredible seven-year run. Asked how he started at Marvel, herb trimpe and on The Incredible Hulk, Trimpe Photo by Luigi Novi recalls, “In October of 1966, I’d just gotten back from Vietnam and had separated from the USAF. A friend of mine from art school days, John Verpoorten, was production chief at Marvel. He recommended me to Stan [Lee], and I worked in the production department for a while, as well as doing some freelance inking on Westerns. After six months or so, Stan popped his head into our cubicle and asked if I wanted to draw The Hulk. ‘Sure,’ said I. No big deal. Not like today.” By 1968, Stan Lee was busy with an ever-expanding Marvel. Did he have time to provide detailed plots for his artists? “No detailed plots,” recalls Trimpe. “In fact,

The Great White North Herb Trimpe (and John Romita) rocked the comics world with this iconic cover for Wolverine’s first appearance (excluding his cliffhanger cameo in the preceding issue, that is), The Incredible Hulk #181 (Nov. 1974). We’re thrilled to have Mr. Trimpe’s recreation of that masterpiece gracing this issue’s BI cover—abetted by the kind and talented Gerhard, who “Canada-ized” Herb’s illo. TM & © Marvel Characters, Inc.

Hulk in the Bronze Age Issue

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Follow the Leader (right) Trimpe’s cover to #123 (Jan. 1970). (left) The new Hulk logo premiered here on issue #129 (July 1970), but “The Incredible” was added later. Original Trimpe cover art courtesy of Heritage Comics Auctions. TM & © Marvel Characters, Inc.

no plots at all. Just a brief conference, and I would compose the plot from our conversation—write down what I remembered and come up with 20 pages of story. Granted, it was mostly Stan’s conversation, but he really knew what he was doing. I think this has proven itself out over the years.”

a month and asked ourselves what kind of paces we should put Banner and the Hulk through that month. It usually didn’t take us long to come up with an answer.” Herb Trimpe found the transition easy: “Roy was extremely easy to work with. The Stan Lee method of having the artist lay out the story filtered RAMPAGING ROY down to all the other writers at the Roy Thomas took over the title time. I am a very good storyteller almost exactly at the start of the ’70s and the writers very rarely requested (calendrical correctness notwithchanges. Stan favored artists who standing). Thomas’ first full issue, could tell a story, because a comic Incredible Hulk #121 (Nov. 1969), had book is primarily a picture medium. the Hulk facing a new adversary: To be precise, working with writers the Glob. Thomas kindly shares the Stan Lee way made the job a his recollections with BACK ISSUE: dream.” roy thomas “Stan gave me virtually no directions. In issues #122–123 (Dec. 1969– The first character I made up with Jan. 1970), Reed Richards manages Herb was the Glob, using an old Lee name but basically to “cure” Banner. However, due to input from Banner, an updating of the Heap, a character I liked from the the “cure” now enables Banner to control the change 1940s and ’50s. Herb and I just got together once into the Hulk while retaining his own consciousness. Believing his curse ended, Banner renounces the transformations and proposes to Betty. Astonishingly, things don’t go to plan. The Leader shows up to steal the military’s “Murder Module” and is only thwarted when Banner becomes the Hulk. Vowing revenge, the Leader enlists the Rhino and the twosome attack while Bruce and Betty are at the altar! Despite constantly pursuing the Hulk—when all he wants is to be left alone—the military repeatedly seeks his assistance when faced with a serious problem. A mysterious comet threatens the entire Earth in issue #125 (Mar. 1970), and only Banner can avert Armageddon. Piloting a rocket outfitted with a nuclear warhead Banner destroys the comet … but picks up a hitchhiker as the Absorbing Man returns to Earth.

4 • BACK ISSUE • Hulk in the Bronze Age Issue

Nobody Loves the Hulk (left) Writer Roy Thomas splits Bruce Banner from the Hulk in #130 (Aug. 1970). (right) A gruesome gang-up, in issue #139 (May 1971). Both covers by Herb Trimpe, with cover colors by Marie Severin. TM & © Marvel Characters, Inc.

would be mistaken. Instead, a little girl meets the Hulk in the forest DAWN OF THE DEFENDERS Sidestep for a moment to recall that Dr. Strange’s own series concluded and presumes him to be the mythical Golem. The peasantry take this with the discovery of a strange idol in Dr. Strange #183 (Nov. 1969). as a sign to rise up against their dictator. Kang the Conqueror tries to use the Hulk to divert the course of The plot continued into Sub-Mariner #22 (Feb. 1970) as Strange enlisted Namor’s help against the Nameless One—an extra-dimensional entity World War I, by disrupting a crucial mission by the Phantom Eagle, seeking to use the idol to enter our world. This leads into Incredible in issue #135 (Jan. 1971). Issues #136–137 (Feb.–Mar. 1971) present Hulk #126 (Apr. 1970), as the Hulk encounters a cult seeking to free the a two-part story, scripted by Thomas but plotted by Gerry Conway, featuring the return of the Abomination. It was over 40 years ago, Nameless One and subsequently battles the Night-Crawler but Conway recalls some details: “There were a couple of (not Kurt Wagner, Nightcrawler of the X-Men). different stages to becoming a writer at Marvel. One of Dr. Strange next appears in Marvel Feature #1 the first was what they called a writing test, for which (Dec. 1971) as he recruits both the Hulk and Namor you were given a handful of pages of a story that had against an old foe. “The Defenders,” as Strange dubs already been penciled and they’d ask you to write the loose grouping, graduate to their own title soon dialogue over those pencils. And I believe I did that after, and the Hulk features prominently in all but a for five pages of a Captain America story. I then wrote handful of their first hundred issues—becoming, in a couple of full scripts and plots, and then after that effect, the Hulk’s second monthly series. [Editor’s Roy asked me to write an outline based on the general note: If case you missed it, last summer’s BI #65 idea of ‘Moby Dick in space.’ I wrote an outline featured a thorough examination of The Defenders, which they spread out over two issues. And from and a Defenders cover by Kevin Nowlan.] there I started getting more regular assignments.” The Hulk’s petulance leads to the loss of his With the Sandman slowly turning into glass, friend Mogol—champion of Tyrannus—in Incredible gerry conway and desperately needing a total blood transfusion, Hulk #127 (May 1970). He battles the Avengers in he kidnaps Betty Ross in issue #138 (Apr. 1971). issue #128 (June 1970), followed by the Glob— The Hulk disposes of the Sandman, but Betty is under the control of the Leader—in the following issue. Banner finds himself at his old alma mater, Desert State University, in issue #130 turned to living crystal! One of the great Hulk covers graces issue (Aug. 1970). Enlisting the help of an old research colleague, Banner #139 (May 1971), insisting: “Many Foes has the Hulk—Add Them All attempts another cure. Terrifyingly for Banner, he and the Hulk are Together … They Spell Death!” as the Leader uses a MentalloProjector to create realistic projections of past foes to fight the Hulk. split into separate beings by the Gammatron device. With no possibility of relaxing and reverting to Banner, the Hulk THE BRUTE THAT SHOUTED LOVE AT THE HEART OF goes on a rampage as never before. Curiously, he is only calmed by THE ATOM a meeting with a street kid named Jim Wilson. Iron Man shows up to Roy Thomas had invited famed science-fiction author Harlan Ellison help with the Gammatron, and the Hulk and Banner are re-merged. to write some stories for Marvel. Ellison produced plots for Avengers After battling Hydra, the Hulk stows away on a freighter in issue #88 (May 1971)—wherein the Hulk is captured and shrunk by the #133 (Nov. 1970). No longer reverting to Banner, the Hulk arrives in alien Psyklop—and Incredible Hulk #140 (June 1971), where the Hulk the tiny Mediterranean nation of Morvania, where he confronts the lands on the sub-molecular world of K’ai. Welcomed as a champion dictator, Draxon. The cover of issue #134 features the Hulk “In the by K’ai’s green inhabitants and granted Banner’s consciousness by Shadow of the Golem,” yet those expecting a battle of behemoths sorcery, the Hulk meets and is enamored of their beautiful queen, Hulk in the Bronze Age Issue

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Jarella and Her Green Fella Fantasy legend Harlan Ellison plotted this tale (scripted by Roy Thomas) taking the Jade Giant into a microscopic-sized world, where he found love. Jarella, seen on this cover with her big beau, would long be a fixture in Hulk’s mythos. Cover to Incredible Hulk #140 (June 1971) by Herb Trimpe. TM & © Marvel Characters, Inc.

TM & © Marvel Characters, Inc.

Jarella. Finally, the Hulk has found happiness. “Betty … you don’t need me any longer. These people do.” He consents to marry Jarella—but is cruelly wrenched home by Psyklop. Back on Earth, the military once again seeks help from the Hulk. Dr Leonard Samson believes he can drain off the Hulk’s libidinal energy—his psychic force—and use that energy to cure Betty. Indeed, Betty is transformed back into flesh and blood in issue #141 (July 1971). Also, his libidinal energy drained, Banner will never become the Hulk again! Or at least for five pages. Subjecting himself to the leftover libidinal energy, meek Leonard Samson becomes Doc Samson—a gamma-infused powerhouse himself—to whom Betty finds herself strangely attracted. A jealous Banner sees only one way he can challenge Samson for the girl he loves, and re-exposes himself to gamma radiation. The Hulk and Samson battle and, certainly, Samson initially proves equal in strength to the Hulk. But, as we all know, the madder Hulk gets, the stronger Hulk

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gets. Samson is defeated, Betty runs to Samson’s aid, and an uncomprehending Hulk realizes that he’s lost something valuable. The Valkyrie returns in Incredible Hulk #142 (Aug. 1971), followed by a two-issue story as Dr. Doom transports Banner to Latveria in an attempt to use the Hulk against Doom’s enemies. Leaping out of Europe and emerging in the Sahara, the Hulk discovers that the Sphinx and a buried stone colossus are of a pair of alien gladiators whose impending battle may decimate the Earth. Gerry Conway scripted “The End of Doc Samson” in issues #146–147 (Dec. 1971–Jan. 1972). The Hulk returns to the US as the Leader emerges with a new plot. Struck by the Leader’s weapon, Samson reverts to his original, non-powered body. This same issue contains the bittersweet, yet compulsory, short story, “Heaven is a Very Small Place.” Roy Thomas then stepped away from plotting Hulk. Asked if he had any favorites during his run, Thomas replies, “Jarella was a good creation, but more Harlan’s than mine, of course. I’m prouder of the Glob, the ‘Golem’ storyline … splitting Hulk/Banner in two for the first time … Doc Samson.” Archie Goodwin takes over as scripter with Incredible Hulk #148 (Feb. 1972), featuring the return of Jarella in a plot—and very first comics credit— by Chris Claremont. “That plot came before I actually began working on staff for Marvel,” recalls Claremont. “The treat of working on this particular issue of Hulk was that the plot was mine (involving a really cool set of characters), but the actual script was one of the first for a mainstream Marvel series to be written by Archie Goodwin. Nothing like being teamed with one of the best writers in the craft to help teach a young dog how best to hunt! It also didn’t hurt to be teamed with a finest-kind penciler of the caliber of Herb Trimpe, who effortlessly brought the story to life and made us all look good, and inker John Severin, who was just plain brilliant.” Claremont’s story introduces Dr. Peter Corbeau, who believes he has devised a solar-powered cure for Banner. Unfortunately, this coincides with sorcerous machinations on K’ai—and Jarella arrives on Earth. The warrior queen is followed, and apparently murdered by the assassin, Fialan. Startlingly, the Hulk kills Fialan. “The scene is mine (at least as I recall),” confirms Claremont, “the rationale being that such a primal moment required an equally primal response. I also figured that if Roy (or Archie) had any problem with it, they’d let me know, or simply make the appropriate correction.” The real Jarella is safe, but must return to K’ai. Now the regular scripter, Archie Goodwin introduces the Inheritor in issue #149 (Mar. 1972). The 150th

issue (Apr. 1972) features surprising guest-stars BEYOND THE BORDER LURKS DEATH Havok and Polaris. The real game-changer, though, The Hulk had traveled to Asgard, Atlantis, and occurs after the Hulk’s battle with the part-time Antarctica, but had never visited his nearest neighboring X-Men. An exhausted Hulk reverts to Banner and country. After battling Tiger Shark in issue #160 (Feb. is found by Betty and Talbot. The semi-conscious 1973), the Hulk encounters the Beast and the Mimic in scientist mumbles, “Jarella … my love…,” marking Canada in issue #161 (Mar. 1973). The following issue the exact point where Bruce and Betty’s relationship features the introduction of an important adversary: “I changes. knew about the legend of the Wendigo, and thought, Another enjoyable Goodwin monster story between his strength and his sad story, that he graced issue #151 (May 1972), followed by sounded like a good Hulk opponent. If we’d a two-part Gary Friedrich-scripted story heard of Chupacabras then, I might have guest-starring most of the Marvel sent him to Mexico,” laughs Englehart. Universe. Assisted by Nick Fury and Incredible Hulk #163 (May 1973) Captain America, the military finally featured a link back to Incredible Hulk succeeds in capturing the Hulk. #1. Heading in the wrong direction Placed on trial, the Hulk is defended out of Canada, and pursued by the by Matt Murdock (Daredevil). USAF (with permission from the If “Heaven is a Very Small Place,” Canadian government), the Hulk acciwe discover that “Hell is a Very Small dentally discovers a secret base underHulk” in issue #154 (Aug. 1972). neath the Arctic—commanded by the Desperately searching for Jarella, the Hulk recalls a time when he was a member of the Avengers—alongside steve englehart Henry Pym: Ant-Man. Breaking into Pym Laboratories, the Hulk finds and drinks some serum—and promptly shrinks to Ant-Man size. After battling Hydra the Hulk shrinks even further. Passing through the dimensional barrier into the Microverse, in issue #155 (Sept. 1972), Banner lands in a Manhattan under siege from the Nazis thanks to the Shaper of Worlds—an extraordinarily powerful alien with the ability to turn dreams into reality. The Shaper, unable to tempt the Hulk with illusions, sends the Hulk to his dream location. Reunited with his love on K’ai, the Hulk helps Jarella in her continuing civil war. Meanwhile, with the Earth convinced that Banner is gone, Betty Ross accepts Glenn Talbot’s marriage proposal. Incredible Hulk #156 (Oct. 1972) foists a double tragedy upon our protagonist as he also loses Jarella—as Hank Pym’s unstable serum wears off and he begins to grow. Larger than the planet itself, he accidentally kicks K’ai… A disconsolate Hulk is attacked by the Leader, who has mentally taken over the body of the Rhino in issue #157 (Nov. 1972). The Hulk leaps aboard the Leader’s shuttlecraft and, knocked off course, the craft lands on Counter-Earth—where the Hulk meets a married Bruce and Betty Banner. The Hulk reverts to our Banner and muses that there may be chance for him and Betty yet—not knowing that, at that same moment back on Earth, Betty and Talbot are pronounced man and wife. Archie Goodwin had been with the title for less than a year but had changed the dynamic for the foreseeable future. Steve Englehart returned the Hulk to Earth to encounter the Abomination in issue #159 (Jan. 1973). Englehart kindly explains how he came to the series: “I think it was just the normal course of events. Archie decided to drop the book and I was the rising star, so it came to me. I felt, rightly, that I could handle even more work than I had, and I would have had to feel very differently to turn down Incredible Hulk with Herb Trimpe. “I thought the Abomination was the Hulk’s best foe, so I definitely wanted to start off with him,” recalls Englehart. “Archie was excellent at everything he did, so I didn’t come onto the book thinking, ‘I’ve got to fix things,’ the way I had with Captain America. Hulk was a successful book as it stood, and I just wanted to keep it from taking a nosedive with me at the controls.”

Hulk in the Bronze Age Issue

Tripping! Psyklop, the villain from the aforementioned Ellison/ Thomas/Trimpe issue, makes a grab for the Hulk in this psychedelic poster released by Third Eye in 1971. Courtesy of Heritage Comics Auctions (www.ha.com). TM & © Marvel Characters, Inc.

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Teaming with Trimpe Two of our favorite inkers during Herb Trimpe’s triumphant tenure as Incredible Hulk penciler: (left) John Severin, seen here on an original art page Hulk #145 (Nov. 1971), and (right) Joe Staton, inking this great Doc Samson page from Hulk #193 (Nov. 1975). Both John and Joe’s distinctive styles nicely complemented Herb’s pencils without overpowering them. TM & © Marvel Characters, Inc.

Gremlin, son of the Gargoyle. “I’ve always treated the entire run of a book, up to the point that I took it over, as worthy of respect,” explains Englehart. “So I was always interested in where series started out, and how they developed in their early days. The Gargoyle had indeed been in Hulk #1, so I thought it would be fun to connect to him—but I had to make something interesting for my time, not just wave at the past. I thought, ‘Gargoyle + Kremlin = Gremlin’.” The Hulk escapes, but Thunderbolt Ross is captured by the renegade Russian. Attempting to cross the ocean in issue #164 (June 1973), the Hulk is intercepted by Captain Omen in his enormous submarine. Omen has created a world six miles below the surface. The bodies of his followers, including his son, have “evolved to fight the crushing pressure.” The Hulk has been underwater before but never so deep that the bends prevent him from reaching the surface. As he is forced into Omen’s servitude, back in America, Nick Fury assigns Colonel Jack Armbruster the task of rescuing Thunderbolt Ross. The following issue reveals that Omen is not the altruistic patron he claims, and many of his followers— including his own son—yearn for the surface world. The two-part story concludes with one of the most shocking, sobering, and sorrowful climaxes in the series’ history. Englehart was asked if he finds that fans tend to remember this story: “I do—possibly because of the water-pressure idea, but primarily, I think, because of

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the characters, where the son and the father had their issues. It was a poignant story on several levels.” Zzzax debuted in issue #166 (Aug. 1973), guest-starring Hawkeye. Did Englehart see this as an opportunity to both feature a favored character and seed his Avengers/Defenders clash? “Sorry, but I hadn’t thought of Avengers/Defenders at that time. I had taken Hawkeye out of Avengers, but he was still one of ‘my’ characters, so it was simple to put him in Hulk.” The supporting cast are not forgotten. Armbruster, Talbot, and team manage to rescue Ross, but Talbot is shot and seemingly killed. New bride Betty subsequently suffers a breakdown and is hospitalized. MODOK, now sporting a giant body to match his giant head, abducts Betty in issue #167 (Sept. 1973) and transforms her (via gamma rays) into the monstrous Harpy. In another nod to Marvel’s past, Englehart takes the Hulk, Harpy, and MODOK to Red Raven’s city in the clouds, where we all meet another classic adversary in issue #169 (Nov. 1973). “The Bi-Beast was just another idea for something powerful/impressive enough to fight the Hulk,” reveals Englehart. “I did have to think of guys worthy of the Hulk—like Wendigo and Zzzax—but it was deep within the Marvel DNA that these guys would have some sort of story to ‘humanize’ them—and that’s the stark difference between Marvel and DC (at least, then). Superman’s villains were strong but boring, as a rule, so the only story there was

Titanic Trimpe Tussles (left) Rhino and the Abomination rush to make a Hulk sandwich on the cover of Incredible Hulk #171 (Jan. 1974). (right) Later that year, Adam Warlock guest-starred, in #177. Frank Giacoia inked Herb on the Warlock cover, while #171 was penciled and inked by Trimpe. TM & © Marvel Characters, Inc.

the fight. That was the first thing I had to fix when DC brought me over to save their company.” After the battle with the Bi-Beast, the Harpy reverts to Betty— naked, as she was when MODOK transformed her. Betty and a reverted Banner fall from the sky city. Surprisingly, on the splash page of the following issue, Betty has found a garment in mid-air, prompting a discussion which ran over several letters columns. “Well, Bruce Banner always showed up wearing pants, so nudity was long since settled for him,” Englehart points out. “But like they say, it’s different for girls. Nobody hassled me when I was writing her [naked], and I didn’t hear anything from Herb about anybody hassling him. If someone had come to me and said, ‘She’s got to keep her clothes the way Bruce always does,’ I’d have complied because I was still low man on the totem pole. But nobody did, so I kept right on.” Englehart plotted issue #170 (Dec. 1973), but it was scripted by Chris Claremont. “All I did was write the script—essentially, the reverse of what happened with my previous Hulk,” explains Claremont. “My rationale for Betty having clothes is that Bruce (being both a hero and a gentleman) managed to grab something— a length of cloth tumbling with chunks of wreckage, that sort of thing—and wrapped it around Betty to protect her during their tenmile-plus descent. It’s occasionally amazing what happens in the space between issues.”

IRRESISTIBLE FORCE MEETS IMMOVABLE OBJECT Another of the classic covers features the Hulk sandwiched between an onrushing Rhino and an advancing Abomination in issue #171 (Jan. 1974). If you’ve seen the cover you can guess the resolution, but it’s still great fun getting there. Issue #172 (Feb. 1974) featured the return of Dr. Peter Corbeau, who attempts to use a device to exile the Hulk to a Limbo-like dimension (a plot that was revisited many years later) but only succeeds in freeing the Juggernaut from his dimensional prison. Tony Isabella scripted the return of the Juggernaut over Englehart’s plot. “My recollection is that this script [and another— see below] was an emergency fill-in job,” remembers Isabella. “It had already been plotted and drawn when I received the assignment, so I can’t take any credit for the plotting. I got the pages on Friday and Alan Kupperberg came over to my apartment on Saturday to pick up

whatever I had written, so that the inker could have pages by Monday morning. The Juggernaut issue was written very fast, but I had fun with it. Maybe too much fun, as several readers thought my captions were too jokey. Which is a fair criticism. I was trying to channel Stan Lee, but got a little carried away.” Roy Thomas returned for a few issues, taking the Hulk to Australia in issues #173–174 (Mar.–Apr. 1974). Issue #174 was scripted by Gerry Conway, who remembers, “I do recall doing that story because of the Sydney Harbour and the Opera House. Herb is a phenomenal artist and it’s one of the real crimes of our business the guy doesn’t get the kind of work that he should. It was very easy to work with somebody like Herb; you could talk about a general story idea and then receive his pencils that told the story very, very effectively. As a writer, you didn’t have to tell the story—your job was basically not to screw it up!” The Inhumans considered leaving our planet for Counter-Earth in Incredible Hulk #175 (May 1974). However, when the Hulk arrives in Attilan, and nearly levels the city, the Inhumans place him aboard their rocket and send the Hulk to Counter-Earth (again). “I didn’t have the time for a long run on Hulk the second time,” says Roy Thomas of his final script. Thomas conceived the Counter-Earth trilogy, featuring the death and resurrection of Adam Warlock in an obvious Biblical parallel, running over issues #176–178 (June–Aug. 1974). Conway wrote the first two issues, with Isabella scripting the conclusion. “I think the Hulk, in certain ways, was being treated as a Christ-figure himself,” opines Conway. “He’s a tormented, misunderstood figure who gets his powers in a sacrificial act. My own religious upbringing has always had an effect on my writing, if only because that’s the mythology that I draw on. Not to say I have any religious belief at this point—I don’t—but in the same way the Greek myths speak to something very basic in our human struggle, I think the Christian mythology also speaks to our need to understand life and to find a purpose in death. In the Christian sense, obviously, the resurrection is like the happy ending that’s tacked on, but the essential emotional core is the sacrifice. Warlock, as created by Stan and Jack, always had a certain religious aspect. His name is Adam, after all, so there’s a religious component right there. So in terms of Warlock, as a

Hulk in the Bronze Age Issue

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superhero figure—and superhero figures in general in American comics seem to have Christ-like motives— it was a natural development to take.” Tony Isabella remembers Incredible Hulk #178 as another emergency job: “I don’t know whether I had a few more hours with the Warlock issue, or if I was just inspired by all the Jesus Christ and political overtones of the story, but I think I did a really good job on that one. Very focused, very intense, and with a few judicious shots at then-President Nixon. I also remember wishing I could work with Herb Trimpe more. What a great storyteller. He broke down these plots perfectly; there was never any problem scripting his pages.” Back on our Earth, Glenn Talbot escapes from his Russian prison and makes his way back to the United States…

AND NOW, THE WOLVERINE

imagery in the story, but by the utterly pedestrian way they tied crucifixion imagery into his death.” Coincidentally, “I think Wolverine and I debuted simultaneously because I believe that was my first letter of comment ever published!” Wolverine makes a cameo appearance at the start of issue #182 (Dec. 1974) as the Canadian military arrives. The Hulk leaps off into the forest and soon meets a drifter called Crackajack Jackson. Unafraid of the Hulk, Crackajack bids him stay and introduces him to what will become the Hulk’s favorite meal: beans. The two form a friendship and, significantly, Crackajack teaches the Hulk how to spell his own name. “Man ain’t got nothin’ if he ain’t got his name.” Sadly, the story does not end well as the friends encounter the villainy of Hammer and Anvil, in what Tony Isabella describes in “1000

Meet… Wolverine! Wolverine’s walk-on, from the final page of Hulk #180 (Oct. 1974). Script by Len Wein, art by Herb Trimpe and Jack Abel, and colors by Glynis Wein. TM & © Marvel Characters, Inc.

Len Wein arrived as permanent scripter, featuring the return of the Missing Link, in Incredible Hulk #179 len wein (Sept. 1974). Wein doesn’t remember exactly how he came to the title, but tells BI, “If I had to guess, I’d guess I asked for the assignment. I always loved that particular version of Ol’ Greenskin.” In issue #180 (Oct. 1974), the Hulk again ventures into Canada and battles the Wendigo. However, this time, the Canadian government is ready. The very last panel of issue #180 depicts the arrival of Weapon X: the Wolverine. Incredible Hulk #181 (Nov. 1974) showcases a three-way pitched battle between the Wolverine, the Wendigo, and the Hulk, and is usually regarded as Wolverine’s first appearance. Much has been written about the genesis of the character, including a comprehensive analysis in BACK ISSUE #4 (June 2004). Roy Thomas knew that Marvel had many fans to the north, and asked Wein to create a Canadian hero. John Romita provided original character designs. Thomas stated, in BI #4: “Len Wein and Herb Trimpe are the major creators and did the heavy lifting.” In the same article, Wein said, “I created Wolverine to be a Canadian mutant, knowing that the [revamped X-Men] concept was going to be an international group of characters.” A character that originally took on both the Hulk and the Wendigo has grown in popularity to seemingly take over a corner of the Marvel Universe. Even Stan Lee, at 2012’s Oz Comic-Con, stated how he loved all of his creations, but joked, “I wish I’d created Wolverine—that’s the only thing that bothers me, that somebody else created Wolverine!” Interestingly, the letters page of Incredible Hulk #181 features praise and condemnation for the death and resurrection of Adam Warlock, including a letter of criticism from future Marvel staffer Jo Duffy. “It wasn’t just Warlock being killed,” Duffy observes today. “I wasn’t inherently offended by the use of classic Christian

Hulk vs. Wolverine Redux (opposite page) From the Heritage Auctions archives: a Hulk/Wolverine sketch by Herb Trimpe. Sheesh, you alpha males, it’s been 40 years. Play nice! TM & © Marvel Characters, Inc.

Hulk in the Bronze Age Issue

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Then One Foggy Christmas Eve… Santa gets an eyeful in this Sal Buscemaillo’ed pinup for the month of December from Marvel’s 1975 calendar. Courtesy of Heritage. (inset) An undated Hulk sketch by Mr. Buscema. Courtesy of Joe Hollon.

Comics You Must Read” as the best issue of Wein’s impressive run. Zzzax regenerates in issue #183 (Jan. 1975), followed by Warlord Kaa—from Strange Tales #79 (Dec. 1960)— an alien who possesses the Hulk’s own shadow. Major Glenn Talbot has been acting strangely since his return, and Colonel Armbruster is determined to find out why. As President Nixon inspects Hulkbuster Base in issue #185 (Mar. 1975), Armbruster tackles Talbot—and Talbot explodes! Armbruster and Talbot are killed instantly by the undetectable organic bomb planted in Talbot’s chest by his Russian captors. As things go from bad to worse, Hulkbuster Base is subsequently destroyed as the Devastator attacks in the following issue. There is one piece of good news: It is determined that “Talbot” was an imposter. Nick Fury and Clay Quartermain of S.H.I.E.L.D. arrive with intelligence that the real Talbot is a prisoner in Siberia. Ross leads a rescue mission, upon which Banner stows away, and issues #187–188 (May–June 1975) feature a rematch between the Hulk and the Gremlin. Talbot is finally rescued, albeit mind-wiped, as the Gremlin’s base detonates and the Hulk is presumed killed—again. Our protagonist emerges near a small village in Siberia and befriends a blind girl named Katrina in the poignant issue #189 (July 1975). Angered and frustrated by repeated losses, the Hulk accepts the offer of Glorian, who promises to take the Hulk, “To a better place... a place you have always dreamed of,” in issue #190 (Aug. 1975). The Hulk travels over the rainbow (really) to meet Crackajack Jackson. Jarella arrives, too, but so

TM & © Marvel Characters, Inc.

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too do the Toad Men from Incredible Hulk #2 (July 1962). Glorian is revealed to be a protégé of the Shaper of Worlds, and Crackajack and Jarella are alien illusions. The Shaper returns the Hulk to Earth—specifically Scotland—where he encounters a Loch Ness-like creature in issue #192 (Oct. 1975). In trying to cure Talbot, Leonard Samson’s Gammatron device malfunctions— and Doc Samson lives again, in issue #193 (Nov. 1975).

END OF AN ERA After penciling the title for more than seven years, Herb Trimpe said farewell to the Incredible Hulk. Co-creator of almost every new character over that period, Trimpe reminisces: “The physical appearance of most of the characters came straight off the top of my head while in the process of drawing a particular issue. There rarely were model sheets, and little or no direction by the writer as to how the character should look. Wolverine is an exception: designed by John Romita, inspired by Roy Thomas.” New artist Sal Buscema was hardly new—he had been penciling the Hulk in Defenders for the past three years. In Tom DeFalco’s book Comics Creators on Spider-Man (where’s the Hulk book, Tom?), Buscema admitted that the Hulk is his favorite character, and stated, “There’s something very satisfying about drawing rage and anger.” Buscema expanded his reasoning in the TwoMorrows publication Sal Buscema—Comics’ Fast & Furious Artist: “With few exceptions, doing one character was like doing any other. It’s all some guy in spandex running around saving the world every month.” The Hulk is clearly an exception.

Asked by BI when he first encountered the Hulk, Buscema replies, “In Jack Kirby’s ’60s Incredible Hulk. I thought the concept was fascinating.” Buscema has a background in theatre and was asked if this influenced his style and preferences: “Yes, my theatrical experience definitely helps with not only body language but storytelling. I love drawing the Hulk, because his body language and his entire persona are so different from your typical superhero. I received a call one day from editorial at Marvel. They asked me if I would like to do the Hulk on a regular basis and my answer was an emphatic ‘yes.’” Buscema’s first issue is a thought-provoking story about parental estrangement, mixed with giant insects, as the Locust attacks in issue #194 (Dec. 1975). This was followed by the two-part return of the Abomination, and a two-part encounter with the Man-Thing (“Carrot-Nose”) and the Collector in Florida. Meanwhile, Samson puts the moves on Betty as a reconstructed Hulkbuster Base is rechristened Gamma Base. In Incredible Hulk Annual #5 (1976), Ol’ Greenskin fights six of Marvel’s classic pre-hero monsters, including Xemnu the original Hulk and Groot. Incredible Hulk #199 (May 1976) is a big battle issue as Doc Samson and S.H.I.E.L.D. finally subdue the Hulk, just in time for his anniversary. Issue #200 (June 1976) sees the Hulk fitted with an encephalohelmet, giving Banner control of the Hulk’s body. It’s an audacious plan to shrink the Hulk and transport him into Talbot’s mind in an attempt to remove the mental blocks placed there by the Gremlin. Talbot’s subconscious recognizes the Hulk as an intruder and manifests memories—in the form of a succession of the Hulk’s past foes—as defense. Talbot is cured, but the Hulk shrinks even further. Shrinking the Hulk inevitably leads to a specific destination, but before he arrives, the Hulk makes a pit stop to battle Kronak the Barbarian, in issue #201 (July 1976).

Shrinking again, the Hulk finds the world of K’ai devastated by earthquakes—as a consequence of being kicked out of orbit back in issue #156. Nevertheless, he is reunited with Jarella as the evil of Psyklop returns. Buscema has fond memories of the sword-and-sorcery issues: “I enjoy drawing fantasy very much. The Jarella series was fascinating. She brought the Hulk so much happiness in the short time they were together. It brought out a whole new facet of his personality.” Psyklop is defeated, but, as always, the Hulk’s happiness is terribly short-lived. Thanks to Samson, the man-brute begins to grow—this time taking Jarella with him! As Jarella submits to tests to ensure Earth’s pollutants have no adverse effects on her alien body, Banner consults with Professor Kerwin Kronus on an experiment to rid the world of the Hulk forever. Herb Trimpe returns to both plot and pencil Incredible Hulk #204 (Oct. 1976) as Banner takes a trip to the past, attempting to prevent the Hulk’s creation.

Hulk in the Bronze Age Issue

Takin’ a Breather (right) It’s a tough day on the job for New York’s Finest on this original page from Hulk #206 (Dec. 1976). By Wein/Buscema/Staton. (left) Hulk #204’s cover artist Trimpe plotted and penciled its interior story. TM & © Marvel Characters, Inc.

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DO NOT FORSAKE ME

Jarella Lives… …in this tale from What If? #23 (Oct. 1980), at least. By Peter B. Gillis, Trimpe, and Mike Esposito; thanks to Andy Mangels for the scan. (right) Ken Barr’s cover to Hulk’s first B&W issue. TM & © Marvel Characters, Inc.

It’s hard to believe that one of the most important events of the Hulk’s existence occurred almost 38 years ago, at this writing. A faceless scientist, yearning for recognition, employs an obscure robot—the Crypto Man—to attack New York in Incredible Hulk #205 (Nov. 1976). During the rampage, a crumbling building falls toward a young boy. Jarella pushes the boy out of harm’s way, only to be fatally crushed by the rubble herself. Unsurprisingly, the issue generated significant feedback—much of it very angry feedback. Jarella was a beloved character, both by the fans and the Hulk himself. It is safe to say that out of his perpetually tortured existence, Jarella brought the Hulk most of his few brief periods of happiness. Significantly, the letters page in issue #209 (Mar. 1976) tells us, “If we hated the character, as many of you suggest, then we would simply have never brought her back. No, Jarella’s apparent death served a very definite purpose, one that will become all the more clear in the ensuing months.” Before that, however,

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New York must endure “A Man-Brute Berserk!” in issue #206 (Dec. 1976), as an enraged Hulk seeks Dr. Strange’s help to revive Jarella. The Sorcerer Supreme and his fellow Defenders attempt to calm the Hulk during the following issue, only for Strange to determine that “The spirit of the woman Jarella has indeed fled this fragile form. She has passed on to a higher plane.” The Hulk had his very own Gwen Stacy. The decision to kill Jarella was obviously not a trivial one, and an alternative was explored in What If? vol. 1 #23 (Oct. 1980). However, BI asked Wein if there was anything he’d like to share about this momentous decision: “Yes, it was my intention that Jarella was not really dead. Being an alien species, what appeared to be death to us was in fact a step in what was to be her metamorphosis into a higher power. I never got a chance to bring her back before I left the title, and thus she’s remained dead.”

THE INCREDIBLE BANNER Incredible Hulk #208 (Feb. 1977) begins a focus on the man within the Hulk. Bruce Banner determines to try and make a life for himself—renting an apartment, searching for work, and gaining a new supporting cast. Jim Wilson returns and Banner meets flirty landlady April Sommers. The Hulk only appears when confronted by the Absorbing Man, Maha Yogi, Constrictor, or the Quintronic Man. The Rampaging Hulk black-and-white magazine debuted in December 1976, as detailed in BI #28 (June 2008). Incredible Hulk Annual #6 (1977) also fits here, as the scientists who created Adam Warlock foolishly make a second attempt. Back at Gamma Base, a mysterious amnesiac stumbles out of the desert, as Glenn Talbot decides he needs time to “find himself.” Her marriage over, Betty shrugs off Samson, reinvents herself, and leaves to forge her own life. Out at sea, S.H.I.E.L.D. agents retrieve a mysterious pod emitting gamma radiation, while in a mysterious elsewhere, “They Who Wield Power” take credit for numerous past, Earth-shattering storylines.

TM & © Marvel Characters, Inc.

Jack of Hearts makes his color debut in issue #214 (Aug. 1977) as the mysterious pod reveals the Bi-Beast, who takes over the S.H.I.E.L.D. Helicarrier in issue #215 (Sept. 1977). Yet again, Thunderbolt Ross and the military are forced to solicit the Hulk’s aid. The focus on Banner is seemingly gone as the Hulk encounters another old foe, the Ringmaster, in issue #217 (Nov. 1977). Was a return to the emphasis on the Hulk intentional? “Hulk always just wrote himself,” answers Wein. Incredible Hulk #218 (Dec. 1977) featured a Doc Samson solo story—fighting the Rhino—co-written by Roger Stern. “Len had plotted the Doc Samson story some months before, with the idea that it would appear in either Marvel Spotlight or Premiere,” reveals Stern. “Len had liked my work on the Guardians of the Galaxy series [in Marvel Presents] enough that he asked me to co-write Thor Annual #6 (1977). That seemed to work out fairly well, and so, when Len was facing a deadline bind, he recruited me to help out on the Hulk.” After a two-part encounter with Captain Barracuda, Banner returns to New York with the help of Dr. Walter Newell—the sometime-superhero Stingray—in issue #221 (Mar. 1978). This was Stern’s first solo issue, allowing Banner to say goodbye to his attempt at a New York life of his own. Wein’s final script was the disturbing “Feeding Billy,” plotted and penciled by Jim Starlin. “After four years, it just seemed time to move on,” Wein states. Stern immediately leapt into the roger stern 15-month-old subplot of Gamma Base’s mystery amnesiac: “Yes, it had been Len’s plan all along to have the amnesiac stranger turn out to be the Leader, and I thought it was time for that setup to pay off,” Stern says. After several recent irradiations, Banner’s body “burns off” his gamma energy. But with the fate of the world at stake, the military yet again turns to Banner for help. The truly exciting issues #223–225 (May–July 1978) eerily mirror the Hulk cured/Leader returns/Murder Module story from 100 issues ago. Leaping away from Gamma Base, the Hulk (subconsciously?) arrives again at Desert State University, where he is bedeviled by Banner’s memories and vexed by a statue of Socrates, advising “Know Thyself.” A raging Hulk destroys the statue, demanding to know, “How can Hulk know the Hulk?” Doc Samson arrives with a possible answer in the lauded issues #226–227 (Aug.–Sept. 1978). With some pharmaceutical assistance, Samson attempts to psychoanalyze the Hulk. “I wanted to re-establish who the Hulk was and how he’d come into being,” Stern explains. “Since I had Doc Samson—who is, after all, a psychiatrist— right there in the book’s cast, it just seemed natural to have him get into the Hulk’s head. And I loved the way Sal drew the Hulk stretched out on that oversized, reinforced couch.” Issue #227 also proudly sports the cover blurb: “Marvel’s TV Sensation!”

The Incredible Hulk #214 (Aug. 1977) featured colorful guest star Jack of Hearts. Coincidentally, this issue also contained a letter from Kurt Busiek who, turning pro many years later, would admit Jack into his Avengers series. BACK ISSUE asked Busiek if having his letter in this Jack of Hearts issue engendered him to the character? “Nope,” counters Busiek. “I first ran into Jack in Deadly Hands of Kung Fu in an issue drawn by Gil Kane and Rico Rival. That great overcomplicated costume and the energy that Gil put into the storytelling hooked me, and I’ve been a fan ever since. I enjoyed reading that Hulk issue, but I was already a Jack of Hearts fan.”

The Incredible Hulk Doc Samson Writers Wein and Stern presented a Doc Samson solo tale in issue #218 (Dec. 1977). Cover by Ernie Chan. TM & © Marvel Characters, Inc.

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HULKING OUT

As Seen on TV Television’s Incredible Hulk program earned Marvel’s Incredible Hulk comic a tie-in blurb on its covers beginning with issue #227 (Sept. 1978). Cover art—featuring the original Avengers— by Trimpe, with Joe Rubinstein inks.

TM & © Marvel Characters, Inc.

Roger Stern co-wrote the two-part Captain Barracuda story in Incredible Hulk #219–220 (Jan.–Feb. 1978), featuring a classic Marvel No-Prize moment—as Barracuda looks through his periscope using his eye-patched eye. “I don’t recall if we received any letters on that matter, but none of us working on the book noticed until after the book was printed,” admits Stern. “It wasn’t until I had a printed copy in my hands that I saw what was wrong with that panel of Barracuda. I did most of the research for the Marvel No-Prize Book, so I made sure to include that embarrassing little error. It was a dumb mistake, and I figured that we should own up to it.” Ever the true gentleman, artist Sal Buscema, observes, “Today I would call it a senior moment.” 16 • BACK ISSUE • Hulk in the Bronze Age Issue

After two successful pilot films in November 1977, the Incredible Hulk television series began screening in March 1978 [see Glenn Greenberg’s article on the Hulk TV show, later in this issue—ed.]. Stern remembers, “There were certainly more people who became aware of the Hulk. ‘Hulking out’ became a popular catchphrase that even non-readers understood. Not all of them knew that the Hulk had originally been created for a comic book, but enough of the TV audience figured that out to give us a boost in sales.” By this time Jo Duffy had joined Marvel and progressed to the position of assistant editor. She was even credited as editor on several issues of Incredible Hulk. “During Roger’s run on The Hulk, while I was Al’s [Milgrom] assistant, I was actually doing most of the editing on the book,” remembers Duffy. “Al had plenty else to keep him busy and a couple of the titles got assigned to me.” There was an accusation of the Hulk comic pandering to the Hulk television show as some of the covers depicted the Hulk doing things that he regularly did on TV (smashing through buildings, hefting vehicles, etc.). Was there any editorial suggestion to do this? “Absolutely not,” affirms Duffy. “Those covers tended to be chosen because they were a good, strong, single image that would grab your eye on a crowded newsstand. However, we all loved the TV show and it’s not beyond the realm of possibility that what we were seeing on television every week was influencing people when they chose a good, strong Hulk image.” Fellow psychiatrist Dr Karla Sofen volunteers to assist Samson in issue #228 (Oct. 1978). Unbeknownst to all, not only is Karla working for the villainous Corporation, she is also the superpowered Moonstone. Karla was the assistant to Dr. Faustus in Captain America #192 (Dec. 1975), but escaped and stole the powers of the original Moonstone. Attempting to steal Gamma Base secrets for the Corporation, Moonstone uses her light powers and her psychiatric abilities to enrage the Hulk and drive Thunderbolt Ross to a nervous breakdown. Incredible Hulk Annual #7 (1978), guest-starring Angel and Iceman, is set during this time. After a one-off alien encounter in issue #230 (Dec. 1978), the Corporation storyline continues. We see the introduction of new companion Fred Sloan, a crossover with Captain America #230 (Feb. 1979), the revelation that Jim Wilson is the nephew of Sam Wilson (a.k.a. the Falcon), Marvel Man changing his name to Quasar, the divorce of Betty and Glenn Talbot, and a three-issue pitched battle between the Hulk and Machine Man. Stern generously shares some memories from this period: “I don’t remember who suggested the Cap crossover. We probably figured that it might help the sales of both books, and since Sal was drawing both of them, it all worked out pretty well. It had been Len Wein’s idea that Jim Wilson was related to Sam—he just never got a chance to follow through on it. I believe the plan was for Jim to go off to appear as a supporting cast member in a possible Falcon series, but nothing ever came of that. Mark Gruenwald was the one who came up with the Quasar identity for Marvel Two-in-One. I just helped set things up for him. And I always loved Machine Man. I still think of him as the most interesting of Jack Kirby’s mid-’70s Marvel creations. And he was a

good opponent for the Hulk, as they were both such outsiders to society.” Jim Wilson left the series, only returning many, many years later in a tragic tale of loss. Moonstone, however, who played such a prominent role in the Corporation storyline, became a major player in the Marvel Universe. How does Stern feel about her success? “Very pleased. I especially liked how Kurt Busiek developed her in Thunderbolts.” Incredible Hulk Annual #8 (1979) presented a battle between the Hulk and Alpha Flight’s strongman, Sasquatch. Stern then moved on to the revelation of They Who Wield Power, starting in issue #239 (Sept. 1979). The Hulk discovers the legendary golden city of El Dorado in the fog-shrouded Andes, and a secret, ancient civilization worshipping the Sacred Flame of Life. The Flame is a Deviant power source and the ruling triumvirate of “They” are seeking to increase its power via geophysical disturbances— thus explaining a multitude of past Marvel stories involving earthquakes and earth-moving. “They” are betrayed by their eldest member—who is revealed to be an aged Tyrannus! “I don’t know if that’s what Len intended for They,” Stern admits, “but when I was assembling all the clues that had appeared in stories up to that date, Tyrannus seemed like a natural to be the behind-the-scenes manipulator. And since he was one of the Hulk’s oldest enemies, it fit right into the story.” The epic conclusion, in Incredible Hulk #243 (Jan. 1980), was the final issue from Roger Stern. “My day job was editing about a dozen Marvel titles a month and then I would go home to write Dr. Strange and the Incredible Hulk at night and on the weekends,” Stern remembers. “After a couple years of that, I was running out of hours in the day. But I was starting to introduce some new cast members, and I had promoted Glenn Talbot to Colonel and put him in charge of Gamma Base. I’m sure that I was planning to have Talbot make life hell for Banner, whom he blamed for the failure of his marriage to Betty Ross. Fred Sloan would have continued writing his book about the Hulk, as I eventually got a chance to show in the 2008 Giant-Size Incredible Hulk special. Jarella was dead, and aside from having the Hulk occasionally remember and mourn her, I had no plans there. And, of course, the Hulk would have continued to smash stuff, as I worked to gradually get him back to his Lee/Kirby/ Ditko basics.” Sal Buscema stayed on the title, continuing for an incredible ten-year run. “Roger Stern is an excellent writer,” shares Buscema. “Unfortunately, I don’t remember an awful lot about our collaboration, but I know I enjoyed working with him.” There was one more issue before a new writer arrived. Incredible Hulk

Norem Smash! The B&W magazine The Rampaging Hulk later became the full-color magazine The Hulk! Painter extraordinaire Earl Norem provided occasional covers for both incarnations. Seen here are (top) Norem’s cover to Hulk! #15 (June 1979) and (bottom) detail from his cover to Hulk! #17 (Oct. 1979). TM & © Marvel Characters, Inc.

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Kubert (was a) Smash! (left) Jarrod Buttery shares with BACK ISSUE not only this Hulk sketch by the amazing Joe Kubert (1926–2012), drawn at the 2010 Supanova con in Perth, Australia, but also the story behind it: “[Joe Kubert] politely informed everybody that he wasn’t doing any sketches. Mr. Kubert did very little work for Marvel, but he did draw a couple of issues of the Incredible Hulk. On the final day of the convention I gave him some green paper and suggested that he might like to sketch the Hulk and present it to Mr. [Lou] Ferrigno. Mr. Kubert replied, ‘No, I don’t think I’ll do that, but I’ll do one for you, Jarrod.’ And to my astonishment and elation, he did.” (right) Al Milgrom toes the line on the cover of Hulk #244 (Feb. 1980). Hulk TM & © Marvel Characters, Inc.

#244 (Feb. 1980) featured the return—and comprehensive smashing—of It, the Living Colossus, by Steven Grant and Carmine Infantino. “Virtually everything I wrote for Marvel in the early years was an inventory story. That one, though, wasn’t,” reveals Grant. “Al Milgrom suggested it, mainly because he’d already enlisted Carmine to draw the story, and we both very fondly remembered all the superhero and sci-fi stories Carmine drew at DC in the ’50s and ’60s featuring giants, with an emphasis on giant feet. According to legend, someone at DC had determined that whenever babies, apes, or giant feet appeared on covers, sales went up. No idea if it’s true, but that was part of the genesis. So Al suggested using It, Marvel’s most expendable giant character of the day. No longer sure which of us decided it was time to grind him into dust-Dust-DUST, but I do remember that was an intentional friendly rib at Jim Shooter’s Korvac storyline in Avengers.” Huge, green, and enraged. He’s one of the most recognizable characters in the world and just as popular with creators as with fans. Five writers and two artists handled the overwhelming majority of issues in the 1970s, and little would change in the next decade. But that’s a topic for another article. The author would like to express his sincere gratitude to Sal Buscema, Kurt Busiek, Chris Claremont, Gerry Conway, Jo Duffy, Steve Englehart, Steven Grant, Tony Isabella, Roger Stern, Herb Trimpe, Roy Thomas, and Len Wein. Thank you all for expressing your rage on the page. Thanks also to Pamela Mullin at DC Comics. JARROD BUTTERY lives in Western Australia. In attempting to thank those who helped with this article, no one put it better than Jo Duffy: “Isn’t it amazing the amount of sheer niceness that lies behind all these issues of the savage Hulk?” Speaking of nice guys, Lou Ferrigno visited the Supanova convention in Perth in 2010 and posed for this photo with Jarrod and his Hulked-out son.

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Glenn Greenberg

The television landscape of the late 1970s was hardly an ideal place for the Incredible Hulk. This was a character routinely portrayed in comic books as being able to lift entire mountains and cover several miles in a single leap, able to battle the US Army without breaking a sweat. At that time, about the best that live-action TV had to offer when it came to that kind of fare was Lee Majors moving in slow motion accompanied by a “dit dit dit dit” sound effect. How could a concept like the Hulk possibly succeed in that environment? But it did—and the impact of that success is still felt today.

THE COMING OF THE (TV) HULK An acclaimed, highly rated two-hour TV movie starring Bill Bixby premiered on CBS on November 4, 1977, with a well-received sequel airing just 23 days later. That in turn led to a weekly series that launched on March 10, 1978, and would run for five seasons. It would be one of the first attempts to treat comic-book material in a serious manner, eschewing the campiness of the Adam West Batman series of the 1960s. True, the Hulk of the TV series was not the character as portrayed in the comic books. The show was an adaptation in every sense of the word. The premise, the status quo, the character’s strength level and abilities, and even the name of his alter ego were changed. No less an authority than the Hulk’s co-creator says that these changes were key to making the concept work for television. “The Hulk [TV series] was done intelligently,” said Stan Lee in a June 26, 2000, interview with the website IGN.com. “It was beautifully done. [It was changed] quite a bit from the comic book, but every change … made sense.”

THE STRONGEST ONE THERE IS? As noted above, the Hulk of the comics had near-limitless strength. The Hulk of the TV series could smash through brick walls, flip cars, leap several stories, knock down trees, and, if he was feeling really ambitious, tear apart a pressure chamber designed for deep-sea use. Most of the time, though, he just tossed around gangsters, thugs, and general troublemakers. The TV Hulk’s strength level was, of course, dictated by the show’s limited budget, but also by what developer/

Now You’ve Made Him Angry— Don’t Say You Weren’t Warned… Purportedly signed by the actor behind the green makeup, Lou Ferrigno, this 23" x 35" poster was released by Universal International in 1978. Courtesy of Heritage Comics Auctions (www.ha.com). The Incredible Hulk TM & © Marvel Characters, Inc. Hulk TV show © 1978 Universal Pictures.

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of his own invention, the gamma bomb, while rescuing a teenager who stumbled onto the site where the bomb was being tested. With David, it happened after he accidentally overdosed on gamma radiation while trying to determine the connection between the presence of gamma and amazing displays of strength from otherwise normal human beings. Then there was the characterization of the Hulk himself. Throughout his history in the comics up to that point, the Hulk ranged from being somewhat eloquent (“I don’t need you! I don’t need anybody! With my strength—my power—the world is mine!”) to extremely monosyllabic (“Hulk >urp< likes beans.”). But one thing was always consistent: The big green guy talked. Not so in the TV series.

MUTING THE HULK

Making Contact Kenneth Johnson with Bill Bixby during the filming of the original 1977 Incredible Hulk TV movie. Bixby is wearing the white contact lenses for the first time. Photograph from the archives of Kenneth Johnson.

Executive Producer Kenneth Johnson determined mass television audiences would accept. Johnson, who wrote and directed the original Hulk TV movie, had previously served as a writer, director, and producer on The Six Million Dollar Man and had created and executive-produced The Bionic Woman. So he certainly had a degree of expertise in this area. For both of those shows, Johnson had established certain ground rules, setting strict limits on what Steve Austin and Jaime Sommers could do with their bionic abilities. “When you’re dealing with the area of fantasy, if you say, ‘Well, they’re bionic so they can do whatever they want,’ then it gets out of hand, so you’ve got to have really, really tight rules,” Johnson tells BACK ISSUE. “[Steve and Jaime] can jump up two stories but not three,” he explains. “They can jump down three stories but not four. Jaime can’t turn over a truck but she can turn over a car.” Johnson says he applied the same kind of thinking to The Incredible Hulk. “Clearly there were scenes where [the Hulk] seems to be stronger than the bionic pair, and I think that’s probably legitimate,” he says. But Johnson was adamant about not going too far—and he feels especially vindicated after seeing later portrayals of the character. “My wife Susie and I were at the premiere of the Ang Lee Hulk movie … and when [the Hulk] started bouncing from mountaintop to mountaintop, Susie leaned over to me and said, ‘Hulk go boing boing!’ It was ludicrous—my Hulk never went ‘boing boing.’”

BUILDING A NEW BANNER Johnson, definitely not an admirer of comic books, wanted to distance the show from its source material as much as possible. In developing the concept for television, he zeroed in on the Jekyll/Hyde aspect and the notion of a man struggling to contain the inner demon that he unwillingly sets free when he can’t control his anger. Thus nuclear physicist Dr. Robert Bruce Banner (commonly called Bruce) became research scientist Dr. David Bruce Banner (never called Bruce). Bruce was single at the time, having never been married, while David was recently widowed, his wife Laura having been killed in a car accident that David survived. Bruce became the Hulk after getting caught in the detonation

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In his 2003 commentary for the DVD release of the original TV movie, Johnson explained, “In the comic book, he sort of had ‘Hulk-speak,’ a bit like the Frankenstein Monster, but I felt that it was just going to demean the project if we did that.” Stan Lee echoed this sentiment in a 2004 video interview for the Archive of American Television: “When we started the television show, Ken said to me, ‘You know, Stan, I don’t think the Hulk should talk.’ The minute he said it, I knew he was right. [In the comics,] I had the Hulk talking like this: ‘Hulk crush! Hulk get him!’ I could get away with it in a comic, but that would have sounded so silly if he spoke that way in a television show.”

WHAT’S IN A NAME? When it comes to the change of Dr. Banner’s name from Bruce to David, however, Lee was not as supportive. Throughout the years, he has always maintained that he opposed the switch. He has also asserted that it was made because, at that time, the name Bruce was considered effeminate and associated primarily with homosexual men, so the Hollywood folks wanted it gone. (Apparently, the fact that Banner was depicted as having been married wasn’t sufficient evidence of his heterosexuality.) But Executive Producer Johnson has his own explanation for the change, and it’s remained consistent for nearly 35 years. “Alliterative names are comic-booky and silly, like ‘Lois Lane’ and ‘Clark Kent,’” Johnson told writer Steven Swires in an interview published in Marvel’s The Hulk! magazine #20 (Apr. 1980). “A name like ‘Bruce’ doesn’t have the degree of adult intelligence that ‘David’ has. ‘David Banner’ is solid, different, non-alliterative, and not a comic book name.” In his 2003 DVD commentary, Johnson reiterated that explanation, and added that he specifically chose the name David because it was the name of his oldest son. He also noted that at the end of the original TV movie, with Banner believed to be dead, the scientist’s gravestone is shown to bear the full name David Bruce Banner—a little gesture to ease Stan Lee’s disappointment. Still, Johnson’s aversion to alliterative names is both ironic and amusing, given the name of his lead actor. “I never even thought about that!” he says with a laugh when BACK ISSUE points out to him that the star of his show was named Bill Bixby—and the female guest star in the original TV movie was Susan Sullivan! “When you’re right, you’re right. I was stuck with Lois Lane, Lana Lang, and Clark Kent no matter where I went!”

A HULK OF ANOTHER COLOR Johnson had also hoped to make another significant change: the Hulk’s skin color. But that idea was ultimately vetoed. “I had a lot of arguments with Stan and the studio about why the Hulk was green,” Johnson explained in his 2003 DVD commentary. “I said, ‘What does that mean, he’s the envious Hulk?’ I said, ‘The color of rage is red.’ I really lobbied for making the creature red as opposed to green, but they’d already let me change [the] name from Bruce to David … so I guess I was stuck with the green Hulk and it was a great frustration.”

A “FUGITIVE” FORMULA As a TV series, The Incredible Hulk most resembled The Fugitive, the classic 1963–1967 action/adventure show starring David Janssen as Dr. Richard Kimble, a man on the run after being wrongfully accused of murdering his wife. Each week, Kimble would be in a new town, using a new name, working a new job, and getting caught up in the lives of the people he encountered along the way, as he continued his search for the one-armed man who was the key to proving his innocence. All the while, relentless police detective Philip Gerard (played by Barry Morse) was in hot pursuit, determined to capture Kimble and bring him to justice. For Hulk, Johnson eschewed ongoing antagonists from the comics such as General Thaddeus “Thunderbolt” Ross and Major Glenn Talbot, and introduced investigative reporter Jack McGee as David Banner’s constant pursuer. McGee, played by Jack Colvin, worked for the National Register, a sleazy tabloid newspaper. Convinced that the Hulk was a killer whose victims included Dr. Banner, he became obsessed with proving the creature’s existence to the world. Both shows cited Victor Hugo’s novel Les Misérables as an influence, with police lieutenant Javert serving as the inspiration for Gerard and McGee.

THE WORLD OUTSIDE YOUR WINDOW Having worked out the show’s overall format, Johnson was determined not to emphasize the science-fiction elements of the Hulk concept. Instead, he concentrated primarily on human drama and real-life situations and problems. There were no alien invaders or subterranean megalomaniacs bent on conquering the world. The people David Banner encountered in his quest to find a cure all had their own inner demons they were wrestling with—their own Hulks, if you will—and as a result of Banner entering their lives, they could overcome the darkness within them. The episodes dealt with issues like child abuse, teen alcoholism, drug addiction, corruption, greed, and mental illness. And there were gangsters—lots of gangsters. The Hulk, portrayed by Lou Ferrigno, would be the only truly outlandish element in most episodes— and there would be very little of him anyway. Two appearances per show, each one lasting just a few minutes. And when the creature did show up, he would confront down-to-earth threats. “I wrote an episode where the Hulk had a fight with a bear,” Johnson explained on his DVD commentary for the 1978 episode “Married,” which he also wrote and directed. “And Stan Lee read it and said, ‘God, it’s great, Kenny, I love the fight with the bear, but it ought to be, like, a robot bear.’ And I said, ‘Gee, no,

Stan … an audience will only buy so much. You’re asking them to buy that Bill Bixby metamorphoses into Lou Ferrigno, and that’s a huge buy, and as soon as you add a robot bear into that, it’s over the top and it’s not real.’”

People, Let Me Tell You About My Best Friends

TWO AUDIENCES

TV’s David Bruce Banner, actor Bill

Naturally, comic-book readers were inclined to check out the TV series. But if the audience consisted solely of comic-book fans—even every comic-book fan in America—it would not have garnered the ratings to get through its first season. Clearly, given the show’s impressive numbers, it had attracted a loyal “mainstream” following, due presumably to the changes that Johnson had made to the mythos to make it relatable to as wide an audience as possible. That audience stayed with the show pretty much to the end—the ratings remained respectable even into the fifth and final season. “We’d never been out of the top 30 shows, mostly in the top 20,” Johnson says. But how did comic-book fans feel about the series? Opinions varied, but on certain key aspects, there was widespread agreement. Yes, some grumbled about “Bruce” becoming “David,” and about the Hulk not being able to speak. But there seemed to be just as many comic-book enthusiasts who understood why those changes were made, and approved of them. The Hulk’s drastically reduced strength level—plus the fact that he wasn’t bulletproof—was far more disappointing to fans, as was the overall lack of any formidable opponents to truly challenge him. There was also widespread consensus that the “Fugitive formula,” and grounding the show so heavily in the real world, was too restrictive, causing the series to start to feel repetitive and stale after a while. But there seemed to be near-unanimous opinion on the show’s greatest strengths. First and foremost: Bill Bixby, who masterfully conveyed the profound loneliness and tragedy of Dr. Banner while also bringing to the role an abundance of warmth, intelligence, humor, nobility, likability, and above all else, humanity. Composer Joe Harnell’s “Lonely Man” theme, played at the end of every episode, was also cited. That

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Bixby, appeared in comics adaptations of his earlier series: Gold Key’s My Favorite Martian (which ran nine issues) and Dell’s The Courtship of Eddie’s Father (which ran two). Shown here are Martian #3 (Feb. 1965) and Courtship #1 (Jan. 1970). Bixby’s respective co-stars, Ray Walston and Brandon Cruz, each appeared in an episode of The Incredible Hulk (see episode guide following). My Favorite Martian © 1964 Jack Chertok Television, Inc. The Courtship of Eddie’s Father © 1969 Metro-Goldwyn-Mayer, Inc.

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poignant, now iconic piece of music, always performed on a lone piano, provided the perfect accompaniment for the fugitive scientist as he moved on to continue his search for a cure. Despite his lack of speech, fans for the most part enjoyed Lou Ferrigno’s Hulk. They liked his sympathetic and childlike nature, which was certainly in keeping with how the creature was being portrayed in the comics of that era. And fans appreciated that the show took the basic concept seriously and always treated it with dignity and respect, more often than not presenting compelling morality plays with strong characterizations. For that matter, there’s a great deal of consensus among the fans on which episodes rank as the very best.

THE HULK’S GREATEST HITS

Hey, Bud, Can You Tell Me Where to Find Luigi’s Pizza? Kenneth Johnson filming Lou Ferrigno as the Hulk on location in New York City in March 1978 for the episode entitled “Terror in Times Square.” Courtesy of Kenneth Johnson. © 1978 Universal Pictures.

Without a doubt, fans consider the original 1977 TV movie one of the finest installments of the series, if not the finest. Some describe it as one of the best debuts in the history of television. Others have declared it simply one of the greatest Hulk stories ever. The other episodes most often cited: • “Prometheus,” the two-part fourth-season opener, in which the Hulk gets stuck in mid-transformation and is captured by a secret US government agency that believes him to be an extra-terrestrial • “Married,” the two-hour movie that kicked off Season Two, in which Banner weds a lovely female scientist with a terminal illness (played by Mariette Hartley, who won an Emmy Award for her performance) • “The First,” another two-parter from the fourth season, in which Banner uncovers the deadly secret of a Hulk-like creature that was created decades earlier • “Dark Side,” also from the fourth season, in which Banner’s attempt to neutralize the aggressive part of his personality backfires badly • “Mystery Man,” a pivotal second-season two-parter in which Banner and Jack McGee are trapped together in a deadly forest fire, with McGee unaware of his companion’s true identity

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• “Homecoming,” from Season Three, in which Banner returns to his hometown and is reunited with his father D. W. (played by John Marley) and his sister Helen (played by Diana Muldaur) • “Bring Me the Head of the Hulk,” from Season Four, in which awareness of the Hulk’s existence has become widespread enough that a ruthless mercenary launches an elaborate plot to capture and kill the creature • “The Snare,” a third-season reworking of Richard Connell’s classic short story “The Most Dangerous Game,” guest-starring Bradford Dillman as a deranged big-game hunter (See page 27 for a complete Incredible Hulk episode guide.) There is a common thread among these fanfavorites: They focus primarily on Banner, rather than have him basically play a supporting role in the guest-star’s story. Also, the Hulk plays an important part, instead of serving solely as a well-timed deus ex machina. In the case of “Prometheus,” “The First,” “Dark Side,” and “Bring Me the Head of the Hulk” (all from the fourth season, notably), fans say that these episodes were the closest that the show ever came to embracing the science-fiction elements, and the feel, of the comic books. Johnson says he’s aware of which episodes have achieved fan-favorite status, and he acknowledges that some installments were better than others. “Nobody ever set out to make a bad episode, obviously,” he says. “I certainly felt in the case of the ones that I directed—‘Married,’ ‘Prometheus’—that we were into some really important, heavy stuff. In the case of ‘Married,’ it was very interpersonal. In the case of ‘Prometheus,’ it was both very personal and focused on Bix and the ‘demi-Hulk,’ as he’s come to be called, and also it was a very big show in terms of production value.” Johnson notes that in his many interactions with fans of the show over the years, the second-season episode “A Child in Need” has also been mentioned frequently as a favorite. In that installment, Banner tries to help a young boy who is being abused by his father on a regular basis. Johnson neither wrote nor directed the episode, but he was instrumental in getting it made. “I had to fight like hell to get CBS to let me do it,” he says. “They kept saying, ‘Well, that’s not a Hulk episode—there’s no bad guy.’ Child abuser, wife beater— no bad guy? They didn’t get that it was a direct metaphor and parallel to Banner’s situation, and I fought and fought and they said, ‘No, we’re not gonna do it,’ and I said, ‘Bull—I’m gonna do it. If you don’t want to put it on the air, fine—up yours!’ And I did it … and it got a lot of prestigious recognition, as it deserved to.” As for those aforementioned fourth-season episodes representing a sudden shift in direction and the adoption of a more “comic-booky” approach, Johnson doesn’t see it that way. “If you look at ‘Prometheus’ carefully, everybody’s wrong!” he points out. Johnson explains that the inspiration for the episode came from the idea that the US government probably has a contingency plan in place, just in case extra-terrestrials ever visit the planet. “There’s really no science-fiction aspect to ‘Prometheus’ at all. It’s a reality-based situation where the government has a contingency plan, they see this guy standing in a crater left by a meteor, and

he’s super-strong and bringing down helicopters— and whoa, wait a minute, he’s green—so they think he’s an alien, but he’s not. We know who he is. So it wasn’t sci-fi at all.” As for “The First,” which is the only time the show ever flirted with the idea of introducing a character in the same vein as the Abomination, the Hulk’s gammaspawned nemesis from the comics, Johnson doesn’t really consider it a major departure. “I remember ‘The First’ was a little stretchy for me,” he admits. “But even then, it wasn’t out of the realm of the world that we were in fact living in, the world that we had created [for the series]. So this was a far cry from ‘The Secret of Bigfoot,’ for example, where there’s a bunch of aliens living underground.” (Johnson is, of course, referring to the memorable twoparter that he wrote and directed for The Six Million Dollar Man, which introduced the hugely popular Sasquatch as a recurring opponent for Steve Austin.) So what are Johnson’s own personal favorites? “I have very fond feelings for the ones that I directed, because those were the ones where I was the most personally, intensely, moment-by-moment involved,” he says. “But also, I’m very, very proud of them.” He notes Mariette Hartley’s Emmy win for “Married,” and recalls a review of that episode that ran in Variety. “It said something like, ‘Maybe it’s happened while nobody’s noticed, but The Incredible Hulk has become one of the strongest dramatic shows on television.’ That was a rewarding thing to hear, obviously.” Johnson says he was pleasantly surprised when he watched “Prometheus” again in 2008—the first time he’d seen it in decades—to record his commentary for the Season Four DVD box set. “You wonder if you’re remembering these things with rose-colored glasses, but then I got into it, and I’m going, ‘Wow, that’s pretty cool! … I really found myself saying, ‘Wow, we did that in 14 days?!’” As for the original TV movie, Johnson has warm memories of screening it for the cast and crew for the first time back in 1977. “They were really taken aback, in a good way, and startled by the depth of what we did,” he recalls. “By the time the lights came up at the end, everybody just sort of sat there stunned and then the applause just went on and on and on. It was really a lightning-in-a-bottle moment.” Of the installments he didn’t write or direct, Johnson cites “A Child in Need,” “The First,” and “Mystery Man” as particular standouts. But he also notes that as far as he’s concerned, every episode of the series, no matter the plot, had one thing in common: “We certainly tried as hard as we could to reach in and probe the insides of people as much as we could.”

HOLLYWOOD HITS THE HULK While the Hulk’s comic-book adventures were never much of an influence on the television series, the show definitely had an impact on the comics. Marvel understandably wanted to capitalize on the success of its emerald-hued TV star. Starting with issue #227 (Sept. 1978), nearly every cover of the comic-book series until #251 (Sept. 1980) carried a burst promoting the title character as “Marvel’s TV Sensation!” But the Hulk’s sister title, The Rampaging Hulk (covered extensively in BACK ISSUE #28) was affected far more significantly. Launched in late 1976, it began as a black-and-white magazine

presenting stories set during the Hulk’s early days and featuring guest-stars like the X-Men, the Sub-Mariner, and the original members of the Avengers. But with the TV series showing staying power, the magazine received a radical makeover with issue #10 (Aug. 1978). Now published in full color, set in the present, and retitled The Hulk!, its new mandate was to tell stories like the ones being done on the show: human interest, focused on Banner, with no regular supporting cast, no supervillains, and no guest-appearances by other Marvel characters. Numerous readers wrote in to the magazine’s letters page bemoaning the absence of the Hulk’s friends and foes and the larger-thanlife stories they were accustomed to, but for the most part, Marvel stuck to its guns. (Not that this necessarily worked to the magazine’s benefit—it was canceled about a year before the TV series aired its final episode.) Stan Lee even launched a daily Hulk newspaper comic strip, drawn primarily by Larry Lieber, that was based far more on the show than on the comic book, as it featured Dr. David Banner, a non-speaking Hulk, reporter Jack McGee, and mostly down-to-Earth storylines. Debuting on October 30, 1978, it ran until September 5, 1982, four months after the show left the airwaves. [Editor’s note: Dewey Cassell examines the Hulk strip in this issue.]

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Mr. and Mrs. Hulk Promoted by this poster promising earth-shattering disasters, “Married,” Kenneth Johnson’s two-hour season opener for Hulk Season Two, was released theatrically in France as Hulk Revient! in 1979. Poster art by Landi and Tealdi; courtesy of Heritage Auctions. © 1979 Universal Pictures.

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END OF THE LINE

Ferrigno by Jusko The closest thing to a photo cover published on a Marvel comic was this cover painting of the TV Hulk by Joe Jusko, released as the cover of the magazine The Hulk! #24 (Dec. 1980). TM & © Marvel Characters, Inc.

With seven episodes already filmed for the fifth season, it came as a genuine shock to the cast and crew when CBS abruptly canceled the series. Kenneth Johnson attributes the decision to Harvey Shephard, a network executive who had recently taken over as head of programming. Johnson tried to persuade Shephard to buy six more episodes, to at least give the show a full half-season. He even pitched an idea for what he felt would make for a very memorable season premiere. “David Banner has a sister, as we know,” Johnson says he explained to Shephard. “And she’s dying, we discover, of a congenital blood disease, and the only thing that can save her is a transfusion from a sibling. What happens when Hulk blood gets into this woman?” Johnson says he had no intention of doing “a bra-popping She-Hulk comic-book thing.” He told Shephard, “I’ll give you a woman that is crazy and dangerous and powerful and America will go ape for it.” But Shephard was unmoved. The seven completed episodes made up the truncated fifth season, and the series ended with Banner’s fate left unresolved. Over the years, there have been persistent rumors about Johnson’s unrealized story idea for a final episode. These accounts insist that the series finale

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would have shown Jack McGee discovering that David Banner was still alive, and Banner finally finding a cure. However, Johnson says that no such idea ever existed. He explains that the show was canceled so suddenly, he never had an opportunity to come up with one. “We had not thought about how we would finally wrap it up,” he says. “Other than I knew that ultimately I wanted to bring it to a satisfactory conclusion, psychologically, for Bixby, and as well for the audience. But beyond the broadest strokes, I never really gave it any thought.” The final episode, a fairly solid installment entitled “A Minor Problem,” aired on May 12, 1982. And with that, it was all over—but not forever.

A SMASHING RETURN Six years later, Bill Bixby signed a deal with NBC to produce and star in three new Hulk TV movies. By then, Marvel was owned by New World Pictures and was eager to get film and TV projects going for its other superhero characters. It was decided that the first of these reunion movies, The Incredible Hulk Returns, would be a good vehicle to introduce television audiences to Thor, who would then hopefully be spun off into his own show. Bixby recruited Nicholas Corea, a key contributor to the original TV series, to write and direct the project. (In recent years, however, members of the movie’s cast and crew have said that Bixby served as an uncredited co-director.) But it’s no understatement to say that The Incredible Hulk Returns was a major departure from the TV series. While Thor was changed and toned down significantly for television—he was now a reincarnated Viking warrior instead of the Norse God of Thunder, and was summoned by Dr. Donald Blake instead of serving as his alter ego—his presence introduced genuine supernatural elements into the world of the Hulk. It was exactly what Kenneth Johnson had strived to avoid during the TV series. Not surprisingly, Johnson had no involvement with this reunion movie. “I was never asked, I was never even informed that they were doing them,” Johnson reveals. He explains that he was surprised that Bixby had not called to at least give him a heads-up that the project was happening. “It was the one time that Bill’s courtesy seemed to have failed him. I never quite figured it out. I think he just decided he wanted to do the whole nine yards, to direct and everything else. … We never even talked about it. I didn’t really care. To me, it was odd at the time that I would not have gotten a call from my pal … but no hard feelings.” Johnson says he’s never seen any of the reunion movies. Lou Ferrigno, of course, returned as the Hulk, and Jack Colvin came back for what turned out to be his final appearance as Jack McGee. (It was little more than an extended cameo, but Colvin has a genuinely funny moment when, having traced the Hulk to Banner’s apartment, he runs afoul of Thor, who’s wearing nothing but a towel.) Co-starring Steve Levitt as Don Blake, Eric Allan Kramer as Thor, and Lee Purcell as Banner’s new love interest, Dr. Maggie Shaw, The Incredible Hulk Returns aired on May 22, 1988. Viewers welcomed it with open arms—the show was a ratings smash, thus guaranteeing a follow-up (but no Thor series). The Trial of the Incredible Hulk, which aired on May 7, 1989, served as yet another “backdoor pilot” for a Marvel superhero TV series (that ultimately didn’t happen). This time, the hero was Daredevil, who, in his civilian

guise as attorney Matt Murdock, found himself representing David Banner after Banner’s arrest on phony assault charges. They ended up joining forces to take on Murdock’s arch-nemesis, crimelord Wilson Fisk. Actor/singer Rex Smith portrayed Murdock/ Daredevil, and popular character actor John Rhys-Davies played Fisk (who, incidentally, is never referred to in the film as the Kingpin). Daredevil’s background is, for the most part, faithful to that of his comic-book counterpart. His costume is another story—totally black, no “devil horns” on his cowl, and no distinctive “DD” symbol. Directed by Bixby, Trial was written by his longtime friend, screenwriter and producer Gerald DiPego. “It was fun for me, because I had never done that kind of writing,” DiPego tells BACK ISSUE. “It’s a kind of tricky line. You don’t in any way want to spoof it. At the same time, you want humor and some lightness in there, you don’t want to take it too seriously. Once I found the line, I had a good time with it.” The ratings for this second reunion movie were strong, but there was less enthusiasm for it amongst viewers. One of the most-cited criticisms was the fact that the Hulk doesn’t appear at all during the last act— Daredevil goes after Fisk and his henchmen while Banner rescues a woman that Fisk has been holding prisoner. The creature plays no role in the resolution of the main plot. “They were trying to launch Daredevil [into his own series],” explains DiPego. “That’s probably why they gave him [the dominant role] in the big finale.” Audiences were also disappointed that the trial itself, promised in the title, happens only in a dream sequence. (Incidentally, that scene features the first cameo appearance by Stan Lee in a Marvel film or television project—he plays a juror.) Many viewers were hoping that Banner would actually stand trial for the death of Dr. Elaina Marks, the character played by Susan Sullivan in the original 1977 TV movie, who was believed to have been killed by the Hulk. According to DiPego, that idea was never discussed. “It’s so hard to think of a storyline where he would be captured and tried for that and not go ‘Hulk’ on everybody,” he explains. DiPego reteamed with director Bixby for The Death of the Incredible Hulk, which aired on February 18, 1990. This time, the emphasis was squarely on Banner and his plight, with no other Marvel characters appearing—though a beautiful female foreign spy played by Elizabeth Gracen was strikingly similar to the Black Widow. Unlike its immediate predecessor, this TV movie delivered on its title—the Hulk does indeed die after getting caught in an exploding plane and plummeting to the ground. Many viewers weren’t satisfied, however. Some noted that the Hulk had already fallen from a plane

Before Hemsworth and Affleck… …different actors brought Thor and Daredevil to life on screen. But no one other than the Man himself has ever played Stan Lee! Promotional stills for (above) The Incredible Hulk Returns and (below) The Trial of the Incredible Hulk. Courtesy of Andy Mangels. © 1988 and 1989 Universal Pictures. Characters TM & © Marvel Characters, Inc.

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In the Studio (left) Kenneth Johnson recording his 2008 DVD audio commentary for “Prometheus,” the two-hour fourthseason premiere of The Incredible Hulk TV series. Courtesy of Kenneth Johnson. (right) An autographed publicity still of Ferrigno as the Hulk, courtesy of Heritage. © 1978 Universal Pictures.

during the TV series (in an episode titled “Free Fall”) and walked away from it without a scratch. Others took issue with the fact that Jack McGee was not on the scene when the Hulk died, thus depriving the reporter of any sense of closure. “I remember talking to Bill about Jack McGee,” DiPego explains. “I didn’t feel that he would add that much to the plot and it would be overloaded, and nobody put up a big fight about keeping him in.” Then again, the creature’s death wasn’t intended to be permanent, anyway. A fourth movie, Revenge of the Incredible Hulk, in which the character would have been revived, was already in the planning stages. DiPego, who was slated to write Revenge, refutes assertions made on the Internet and elsewhere that the story would have shown Banner gaining control of the Hulk and the creature finally being able to speak. DiPego no longer has access to his notes for the story, but he remembers the basic premise: “They found a way to bring Banner back, and he discovered that he had lost, through this death experience, the ability to change into the Hulk. He was finally living a normal life. And he ends up working for the government to ensure that no one else ever goes through what he experienced. He—or maybe his beloved—gets captured by bad guys and Banner is forced to turn some of their agents into Hulk-like beings and give them the power. Towards the end, he would mess up the plans of the bad guys, but in doing so, he has to sacrifice himself, he needs to be the Hulk again to save the day, so he exposes himself to gamma rays and gives up his freedom.” So why didn’t this movie happen? The common belief is that Bill Bixby’s battle with prostate cancer, which ultimately took his life in 1993, was the main reason. Not so, according to DiPego. “It’s very simple—it was the ratings,” he says. “[Bixby’s] health hadn’t begun to decline yet.” (It had indeed been reported at the time that the ratings for Death were significantly lower than those for the two previous movies.) “After Death, [NBC] said, ‘No, it’s just not living up to what we had hoped.’ So everybody just walked away. Nobody was sad or upset—except Lou Ferrigno!”

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A LASTING LEGACY The Bixby/Ferrigno incarnation of the Hulk was now truly a thing of the past—but it had long since left an indelible mark. The line, “Don’t make me angry— you wouldn’t like me when I’m angry,” uttered in the original 1977 TV movie and shown in the opening credits of every episode, became one of the most famous bits of dialogue in television history. It has been quoted and parodied countless times and was referenced in both the 2003 and 2008 theatrical Hulk movies. As for the concept of a non-speaking Hulk, even the comic-book series eventually started using it from time to time. And while the current movie Hulk is able to speak, he doesn’t do it much (though his single line of dialogue in 2012’s The Avengers is one of that film’s best, most beloved moments). Ask anyone from Kenneth Johnson to a casual Hulk viewer, “What’s the most significant impact the series had on the character?” and the answer is the same: “It brought the Hulk into the public consciousness.” With the success of the show, the Hulk joined the ranks of Superman, Batman, Wonder Woman, and Spider-Man, all of whom had already transcended their comic-book roots to become mainstream pop-culture icons. “Stan has told me many times that he attributed all of the later success that the Hulk had, and the resurgence of interest in it as a comic book—because it had never been much of a big seller as a comic book—on the TV series,” says Johnson. “We brought him into the forefront of the American public.” And he’s remained there ever since. Special thanks to John Bligh, Steve Bunche, Barry Dutter, Nicholas Guarracino, Zaki Hasan, Greg Kirkman, Gary M. Miller, Greg Plonowski, and Timothy Tuohy. While on staff at Marvel Comics, GLENN GREENBERG got to work on various projects featuring the Hulk, including a revival of The Rampaging Hulk series (as writer) and the acclaimed crossover with DC Comics, The Incredible Hulk vs. Superman (as editor). He recently watched the entire Bixby/ Ferrigno Hulk series (including the three reunion movies) with his ten-year-old daughter Maddie, who cites “Dark Side” as her all-time favorite episode.

SEASON 1 (1977–1978) Episode 1: “The Incredible Hulk” (TV movie – Airdate: 11/4/77) Synopsis: Dr. David Bruce Banner, hoping to tap into the hidden strength that all humans possess, receives an accidental overdose of gamma radiation and soon finds himself transforming into a super-powerful green-skinned creature whenever he becomes angry. Guest-stars: Susan Sullivan, Charles Siebert, Lara Parker (uncredited) Writer: Kenneth Johnson Director: Kenneth Johnson Episode 2: “Death in the Family” (TV movie, also known as “The Return of the Incredible Hulk” – Airdate: 11/27/77) Synopsis: While searching for a cure for his new condition, David Banner befriends a paralyzed young heiress and discovers that she is slowly being poisoned by her greedy, scheming stepmother. Guest-stars: Laurie Prange, Dorothy Tristan, William Daniels Writer: Kenneth Johnson Director: Alan J. Levi Episode 3: “The Final Round” (Series debut – Airdate: 03/10/78) Synopsis: Banner befriends a down-on-his-luck boxer who’s desperate for a big break and unwittingly involved with ruthless drug traffickers. Guest-stars: Martin Kove, Al Ruscio, Fran Myers Writer: Kenneth Johnson Director: Kenneth Gilbert Episode 4: “The Beast Within” (Airdate: 03/17/78) Synopsis: Banner lands a job at a zoo working with a female scientist who is testing an anti-aggression serum on the animals—but a smuggling operation jeopardizes the experiments and places David and his new colleague in deadly danger. Guest-stars: Caroline McWilliams, Dabbs Greer Writers: Karen Harris and Jill Sherman Director: Kenneth Gilbert Episode 5: “Of Guilt, Models, and Murder” (Airdate: 03/24/78) Synopsis: Dazed and disoriented after his latest transformation, Banner fears that the Hulk is responsible for the death of a beautiful model and becomes the valet of the dead woman’s boyfriend to get to the truth. Guest-stars: Jeremy Brett, Loni Anderson, Deanna Lund Writer: James D. Parriott Director: Larry Stewart

Episode 6: “Terror in Times Square” (Airdate: 03/31/78) Synopsis: Banner ends up in New York City working at an arcade and befriending the owner and his beautiful daughter—but trouble ensues when the old man decides to stop paying protection money to the local crime boss. Guest-stars: Robert Alda, Jack Kruschen, Pamela Shoop, Arny Freeman Writer: William Schwartz Director: Alan J. Levi Episode 7: “747” (Airdate: 04/07/78) Synopsis: Following a lead on a possible cure, Banner travels across the country on an airplane that happens to be carrying the treasures of King Tut—which the pilot and his flight attendant accomplice intend to steal. Guest-stars: Brandon Cruz, Edward Power, Sondra Currie, Denise Galik Writers: Thomas Szollosi and Richard Christian Matheson Director: Sigmund Neufeld, Jr. Episode 8: “The Hulk Breaks Las Vegas” (Airdate: 04/21/78) Synopsis: Working at a casino, Banner inadvertently gets pulled into a newspaper exposé on mob corruption and, as the Hulk, ends up having to save his own relentless pursuer, investigative reporter Jack McGee. Guest-stars: Julie Gregg, Dean Santoro, John Crawford, Don Marshall Writer: Justin Edgerton Director: Larry Stewart Episode 9: “Never Give a Trucker an Even Break” (Airdate: 04/28/78) Synopsis: Banner gets caught up in a young woman’s scheme to steal back her father’s truck from a group of hijackers. Guest-stars: Jennifer Darling, Frank R. Christi, Grand L. Bush Writer: Kenneth Johnson Director: Kenneth Gilbert Episode 10: “Life and Death” (Airdate: 05/12/78) Synopsis: Banner befriends a pregnant woman who intends to put her baby up for adoption, but he becomes highly suspicious of the medical center where she is supposed to give birth. Guest-stars: Diane Civita, Andrew Robinson, Julie Adams Writer: James D. Parriott Director: Jeffrey Hayden Episode 11: “Earthquakes Happen” (Airdate: 05/19/78) Synopsis: Banner infiltrates a nuclear power plant to gain access to its gamma ray equipment in the hope of curing himself—but a powerful earthquake occurs, leaving the facility headed

toward a devastating meltdown. Guest-stars: Sherry Jackson, Peter Brandon, Kene Holliday Writers: Jim Tisdale and Migdia Varela Director: Harvey Laidman Episode 12: “The Waterfront Story” (Airdate: 05/31/78) Synopsis: Banner takes a job at a tavern working for a pretty young widow whose late husband had been head of the local dockworkers’ union— but David soon discovers that the man’s death was not an accident. Guest-stars: Sheila Larken, James B. Sikking, Jack Kelly Writers: Paul M. Belous and Robert Wolterstorff Director: Reza S. Badiyi SEASON 2 (1978–1979) Episode 13: “Married” (TV Movie – Airdate: 09/22/78) Synopsis: Seeking a cure in Hawaii, Banner falls in love and marries Dr. Caroline Fields, a terminally ill scientist. Guest-stars: Mariette Hartley, Meeno Peluce Writer: Kenneth Johnson Director: Kenneth Johnson Episode 14: “The Antowuk Horror” (Airdate: 09/29/78) Synopsis: After the Hulk appears in a small dying resort town, thus bringing a wave of media attention and an influx of tourists, the townspeople create their own “monster” to keep the hype going. Guest-stars: Bill Lucking, Debbie Lytton Writer: Nicholas Corea Director: Sigmund Neufeld, Jr. Episode 15: “Ricky” (Airdate: 10/06/78) Synopsis: Working at a racecar track, Banner befriends a mentally challenged young man who dreams of becoming a driver and keeps ending up in life-threatening situations. Guest-stars: Mickey Jones, Robin Mattson, James Daughton Writer: Jaron Summers Director: Frank Orsatti Episode 16: “Rainbow’s End” (Airdate: 10/13/78) Synopsis: Banner enters the world of horse racing when he hears of a Native American trainer’s great success with a special herbal compound created to calm a wild racing horse—but someone has marked that horse for death. Guest-stars: Craig Stevens, Michelle Nichols, Ned Romero, Gene Evans Writers: Karen Harris and Jill Sherman Director: Kenneth Gilbert

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THE INCREDIBLE HULK Developed for Television by Kenneth Johnson Cast: Bill Bixby, Jack Colvin, Lou Ferrigno Executive Producer: Kenneth Johnson

Glenn Greenberg

Episode 17: “A Child in Need” (Airdate: 10/20/78) Synopsis: Working as a gardener at an elementary school, Banner befriends a lonely, seemingly accident-prone young boy—but soon realizes that the child is being physically abused at home. Guest-stars: Sandy McPeak, Sally Kirkland, Dennis Dimster, Rebecca York Writer: Frank Dandridge Director: James D. Parriott Episode 18: “Another Path” (Airdate: 10/27/78) Synopsis: Banner befriends Li Sung, an elderly blind Chinese philosopher/martial-arts master who discovers that one of his former pupils is now terrorizing a San Francisco neighborhood in his name. Guest-stars: Mako, Tom Lee Holland Writer: Nicholas Corea Director: Joseph Pevney Episode 19: “Alice in Disco Land” (Airdate: 11/03/78) Synopsis: Working at a nightclub, Banner tries to help Alice, a troubled teenaged girl with a serious drinking problem—who also just happens to be the daughter of one of David’s closest friends. Guest-stars: Donna Wilkes, Jason Kincaid, Marc Alaimo Writers: Karen Harris and Jill Sherman Director: Sigmund Neufeld, Jr. Episode 20: “Killer Instinct” (Airdate: 11/10/78) Synopsis: Banner takes a job as a medic for a professional football team to get close to the team’s doctor, who is researching ways to control overly aggressive behavior—just as one of the players is becoming a growing danger to himself and everyone around him. Guest-stars: Denny Miller, Barbara Leigh, Rudy Solari Writers: Joel Don Humphreys and William Whitehead Director: Ray Danton Episode 21: “Stop the Presses” (Airdate: 11/24/78) Synopsis: Working in the kitchen of a Chicago restaurant, Banner is caught on film by a sleazy National Register reporter faking a story about health-code violations—so David must sneak into the newspaper’s headquarters to retrieve the photos. Guest-stars: Julie Cobb, Mary Frann, Pat Morita, Sam Chew, Jr., Art Metrano Writers: Karen Harris, Jill Sherman, and Susan Woollen Director: Jeffrey Hayden Episode 22: “Escape From Los Santos” (Airdate: 12/01/78) Synopsis: After corrupt police officers in Arizona frame Banner and a young woman for the murder of the woman’s husband, the pair escape from jail and make a desperate attempt to prove their innocence. Guest-stars: Shelley Fabares, Dana Elcar Writers: Bruce Kalish and Philip John Taylor Director: Chuck Bowman Episode 23: “Wildfire” (Airdate: 01/17/79) Synopsis: Banner is working on an oil rig and romantically involved with the owner’s daughter, but just as the rig strikes oil, a saboteur working for a ruthless competitor sets the well on fire. Guest-stars: Christine Belford, John Anderson, Billy Green Bush Writer: Brian Rehak Director: Frank Orsatti Episode 24: “A Solitary Place” (Airdate: 01/24/79) Synopsis: Banner seeks isolation in a remote area, hoping it will prevent his transformations, but a female surgeon on the run after a botched operation insinuates herself into his life—and unwittingly brings Jack McGee onto the scene. Guest-star: Kathryn Leigh Scott

Writers: Jim Tisdale and Migdia Varela Director: Jeffrey Hayden Episode 25: “Like A Brother” (Airdate: 01/31/79) Synopsis: Employed at a car wash in a tough neighborhood, Banner befriends a co-worker who does side jobs for the local drug kingpin so that he can pay for his kid brother’s medication— but his latest assignment involves killing a pastor seeking to clean up the area. Guest-stars: Tony Burton, Ernie Hudson, Michael D. Roberts, Austin Stoker Writers: Richard Christian Matheson and Thomas E. Szollasi Director: Reza S. Badiyi Episode 26: “Haunted” (Airdate: 02/07/79) Synopsis: Banner is hired to help a woman move back into her childhood home, but once there, strange events start to occur that seem to be caused by the woman’s twin sister … who died years earlier. Guest-stars: Carol Baxter, John O’Connell Writer: Andrew Schneider (story by Karen Harris and Jill Sherman) Director: John McPherson Episode 27: “Mystery Man” (Airdate: 03/02/79) Synopsis: His face covered in bandages after a car accident, an amnesia-stricken Banner ends up in the middle of a forest fire alongside Jack McGee, who believes that his anonymous companion holds key information about the Hulk within his impaired memory. Guest-stars: Victoria Carroll, Don Marshall Writer: Nicholas Corea Director: Frank Orsatti Episode 28: “Mystery Man Part II” (Airdate: 03/09/79) Synopsis: As the bandaged, amnesia-stricken Banner and a seriously injured McGee struggle to evade the spreading forest fire and other perils, McGee discovers that a human being transforms into the Hulk and vice versa. Guest-stars: Howard Witt, Michael Payne Writer: Nicholas Corea Director: Frank Orsatti Episode 29: “The Disciple” (Airdate: 03/16/79) Synopsis: Banner is reunited with the elderly blind philosopher/martial arts master Li Sung (from “Another Path”), who is now seriously ill and trying to convince one of his pupils, a young police officer, to take over for him. Guest-stars: Rick Springfield, Gerald McRaney, Mako, George Loros Writers: Nicholas Corea and James G. Hirsch Director: Reza S. Badiyi Episode 30: “No Escape” (Airdate: 03/30/79) Synopsis: Arrested for vagrancy, Banner encounters a deranged man who believes himself to be Ernest Hemingway—and when the Hulk inadvertently frees him from police custody, David must find the man and prevent him from harming himself and those closest to him. Guest-stars: James Wainright, Sherman Hemsley, Mariclare Costello, Skip Homeier, Thalmus Rasulala Writer: Ben Masselink Director: Jeffrey Hayden Episode 31: “Kindred Spirits” (Airdate: 04/06/79) Synopsis: Investigating the possibility that a Hulk-like creature existed in prehistoric times, Banner joins an archaeological dig that includes a young female scientist who recognizes him—but some young Native Americans want to stop the dig from being conducted on their ancestral land. Guest-stars: Kim Cattrall, Whit Bissell, A Martinez, Chief Dan George Writers: Karen Harris and Jill Sherman Director: Joseph Pevney

28 • BACK ISSUE • Hulk in the Bronze Age Issue

Episode 32: “The Confession” (Airdate: 05/04/79) Synopsis: Much to his chagrin, Jack McGee is assigned an eager, ambitious female assistant who believes a lonely nebbish’s claim that he’s the man who turns into the Hulk. Guest-stars: Markie Post, Barry Gordon Writer: Deborah Davis Director: Barry Crane Episode 33: “The Quiet Room” (Airdate: 05/11/79) Synopsis: Working as an orderly at a psychiatric hospital, Banner discovers that one of the leading doctors is conducting mind control experiments on the patients—and when he confronts the doctor, David is declared insane and becomes a patient himself. Guest-stars: Joanna Miles, Philip Abbott Writers: Karen Harris and Jill Sherman Director: Reza S. Badiyi Episode 34: “Vendetta Road” (Airdate: 05/25/79) Synopsis: Banner reluctantly gets involved with a young husband and wife who are blowing up gas stations owned by the company that ran the man’s father out of business—and into an early grave. Guest-stars: Ron Lombard, Christina Hart, Howard Morton, Morgan Woodward Writers: Justin Edgerton and Michael McGreevey Director: John McPherson SEASON 3 (1979–1980) Episode 35: “Metamorphosis” (Airdate: 09/21/79) Synopsis: Banner finds himself working for a troubled female rock star who is being manipulated by her management team, which includes her greedy sister. Guest-stars: Mackenzie Phillips, Katherine Cannon, Gary Graham, Jennifer Holmes Writer: Craig Buck (story by Frank Dandridge) Director: Alan J. Levi Episode 36: “Blind Rage” (Airdate: 09/28/79) Synopsis: An accident at a chemical warfare research facility causes Banner’s friend, a young military officer, to become blind and deathly ill— and when David tries to investigate the subsequent cover-up, he suffers the same fate. Guest-stars: Nicolas Coster, Jack Rader, Lee Bryant, Tom Stechshulte Writer: Dan Ullman Director: Jeffrey Hayden Episode 37: “Brain Child” (Airdate: 10/5/79) Synopsis: Banner crosses paths with a lonely, unhappy teenaged genius who has run away from her handlers in an attempt to find her mother. Guest-stars: Robin Dearden, Lynn Carlin, June Allyson Writer: Nicholas Corea Director: Reza S. Badiyi Episode 38: “The Slam” (Airdate: 10/19/79) Synopsis: Arrested on trumped-up vagrancy charges, Banner is sent to a harsh prison work camp and earns the animosity of his fellow inmates when he refuses to help them expose the brutal conditions there while reporters—including Jack McGee—are visiting. Guest-stars: Charles Napier, Julius Harris, Marc Alaimo, Robert Davi Writer: Nicholas Corea Director: Nicholas Corea Episode 39: “My Favorite Magician” (Airdate: 10/26/79) Synopsis: Banner becomes the reluctant assistant for an aging, down-on-on-his luck magician who intends to stop his old flame from marrying a con artist. Guest-stars: Ray Walston, Robert Alda, Joan Leslie, Scatman Crothers Writer: Sam Egan Director: Reza S. Badiyi

Episode 41: “Behind the Wheel” (Airdate: 11/09/79) Synopsis: Banner becomes a driver for a financially troubled cab company and soon finds himself targeted by the gangsters who intend to take over the operation and use it for drug smuggling. Guest-stars: Esther Rolle, Michael Baseleon, Jon Cedar, Margie Impert Writers: Rick Rosenthal, Todd Susman, and Andrew Schneider Director: Frank Orsatti Episode 42: “Homecoming” (Airdate: 11/30/79) Synopsis: Lonely and nostalgic as Thanksgiving approaches, Banner returns to his hometown, inadvertently encounters his sister and father, and discovers that both a plague and a ruthless real-estate developer threaten the family farm. Guest-stars: John Marley, Diana Muldaur, Regis J. Cordic, Claire Malis Writer: Andrew Schneider Director: John McPherson

Guest-stars: Caroline Smith, Walter Brooke, Charles Thomas Murphy Writers: Karen Harris and Jill Sherman Director: Dick Harwood Episode 48: “Sideshow” (Airdate: 01/25/80) Synopsis: Banner takes a job with a traveling carnival and becomes romantically involved with its beautiful young mind-reader—who has been targeted by a deranged man seeking vengeance for the death of his son. Guest-stars: Judith Chapman, Robert Donner, Marie Windsor Writer: Len Jenkin Director: Nicholas Corea Episode 49: “Long Run Home” (Airdate: 02/01/80) Synopsis: Banner encounters a good-hearted biker whose own gang is pursuing him, under the mistaken belief that he informed federal agents about their illegal gunrunning activities. Guest-stars: Paul Koslo, Robert Tessier, Mickey Jones Writers: Allan Cole and Chris Bunch Director: Frank Orsatti Episode 50: “Falling Angels” (Airdate: 02/08/80) Synopsis: Banner takes a job at a girls’ orphanage, only to discover that the girls are being trained for careers in crime. Guest-stars: Annette Charles, Anthony Herrera, Deborah Morgan-Weldon, Cindy Fisher Writers: Eric Kaldor, D. K. Krzemien, and James Sanford Parker Director: Barry Crane

Episode 55: “Equinox” (Airdate: 03/21/80) Synopsis: Working for a spoiled heiress as she throws a lavish masquerade ball, Banner finds himself under suspicion for her attempted murder—and confronted by Jack McGee. Guest-stars: Christine DeLisle, Henry Polic II, Paul Carr Writer: Andrew Schneider Director: Patrick Boyriven Episode 56: “Nine Hours” (Airdate: 04/04/80) Synopsis: Banner, working at a hospital, must team up with an alcoholic ex-cop to save both a young boy who has been kidnapped by mobsters and an old gangster who’s decided to turn over a new leaf. Guest-stars: Marc Alaimo, Sheila Larken, Phil Rubenstein, David Comfort Writer: Nicholas Corea Director: Nicholas Corea Episode 57: “On the Line” (Airdate: 04/11/80) Synopsis: Banner is drafted into helping to fight a raging forest fire alongside a woman determined to prove she can do the job— but when arson is suspected, David becomes the prime suspect. Guest-stars: Kathleen Lloyd, Don Reid, Bruce Fairbairn Writers: Karen Harris and Jill Sherman Director: L. Q. Jones SEASON 4 (1980–1981) Episode 58: “Prometheus” (Airdate: 11/07/80) Synopsis: Banner, Jack McGee, and a young blind woman are drawn into a top-secret government operation when an asteroid saturated with gamma radiation falls to Earth— and causes David to become trapped in mid-transformation. Guest-stars: Laurie Prange, Roger Robinson, John O’Connell, Jill Choder Writer: Kenneth Johnson Director: Kenneth Johnson

Episode 43: “The Snare” (Airdate: 12/07/79) Synopsis: Eccentric millionaire Michael Sutton lures Banner to his private island, only to hunt him down like an animal—and when Sutton discovers that David becomes the Hulk, he sees the creature as the greatest prey of all. Guest-star: Bradford Dillman Writers: Richard Christian Matheson and Thomas E. Szollosi Director: Frank Orsatti

Episode 51: “The Lottery” (Airdate: 02/15/80) Synopsis: Banner wins a lottery, but to keep his identity hidden, he convinces his new friend Harry to claim the winnings for him—but Harry, a former con artist, disappears with the money and uses it to set up an elaborate scam. Guest-stars: Robert Hogan, Luis Avalos, Peter Breck Writers: Allan Cole and Chris Bunch (story by Dan Ullman) Director: John McPherson

Episode 44: “Babalao” (Airdate: 12/14/79) Synopsis: In New Orleans, Banner assists a young female doctor trying to inspire her patients to give up their superstitious beliefs—but a con man posing as a voodoo master is determined to keep the populace living in fear. Guest-stars: Louise Sorel, Bill Henderson, Michael Swan Writer: Craig Buck Director: Richard Milton

Episode 52: “The Psychic” (Airdate: 02/22/80) Synopsis: Believing that the Hulk has killed a teenaged boy, a distraught Banner finds himself in the company of a troubled young woman with the ability to see into the future. Guest-stars: Brenda Benet, David Anthony Writers: Karen Harris and Jill Sherman (story by Harris, Sherman, and George Bloom) Director: Barry Crane

Episode 45: “Captive Night” (Airdate: 12/21/79) Synopsis: Working at a department store, Banner is suspected of wrongdoing by his manager— and those suspicions seem to be confirmed when thieves invade the store and David throws in with them to protect two of his co-workers. Guest-stars: Anne Lockhart, Paul Picerni, Stanley Kamel, Parley Baer Writer: Sam Egan Director: Frank Orsatti

Episode 53: “A Rock and a Hard Place” (Airdate: 02/29/80) Synopsis: Banner takes a job running errands for an elderly woman who’s secretly plotting a major robbery—and when a tenacious FBI agent closes in on her, David is caught in the middle with his true identity exposed. Guest-stars: Jeanette Nolan, John McIntire, Eric Server, J. Jay Saunders Writer: Andrew Schneider Director: Chuck Bowman

Episode 60: “Free Fall” (Airdate: 11/21/80) Synopsis: While working with a team of skydivers, Banner gets caught up in the longrunning conflict between his employer and a corrupt local politician and his son, who is now running for office. Guest-stars: Sam Groom, Kelly Harmon, Sandy Ward, Jared Martin Writers: Chris Bunch and Allan Cole Director: Reza S. Badiyi

Episode 54: “Deathmask” (Airdate: 03/14/80) Synopsis: College girls are being murdered and the angry townspeople suspect Banner, who recently started working at the school’s library— and who is being set up to take the fall by the real killer. Guest-stars: Gerald McRaney, Melendy Britt, Frank Marth, Marla Pennington Writer: Nicholas Corea Director: John McPherson

Episode 61: “Dark Side” (Airdate: 12/05/80) Synopsis: While renting a room from a troubled family, Banner secretly attempts to alter his brain to inhibit any further transformations—but only succeeds in warping his personality and making the Hulk more dangerous than ever. Guest-stars: Bill Lucking, Rosemary Forsythe, Philece Sampler, Taaffe O’Connell Writer: Nicholas Corea Director: John McPherson

Episode 46: “Broken Image” (Airdate: 01/04/80) Synopsis: As Banner is drawn into the schemes of a ruthless small-time criminal who bears a striking resemblance to him, he finds himself coming face to face with Jack McGee. Guest-stars: Karen Carlson, John Reilly, Jed Mills Writers: Karen Harris and Jill Sherman Director: John McPherson Episode 47: “Proof Positive” (Airdate: 01/11/80) Synopsis: The new acting publisher of The National Register decides to improve the newspaper’s image and orders Jack McGee off the Hulk story—but McGee is far too obsessed with the creature to simply walk away.

Episode 59: “Prometheus Part II” (Airdate: 11/14/80) Synopsis: Believed to be an extra-terrestrial, the Hulk is captured for study by the top-secret government agency Prometheus—and Jack McGee infiltrates its headquarters to find out what the mysterious organization wants with the creature. Guest-stars: Laurie Prange, Monte Markham, Carol Baxter, Whit Bissell Writer: Kenneth Johnson Director: Kenneth Johnson

Hulk in the Bronze Age Issue

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Episode 40: “Jake” (Airdate: 11/02/79) Synopsis: Working as a medic at a rodeo, Banner tries to help two brothers—an aging cowboy with a life-threatening illness and a clown with a gambling problem who’s being blackmailed by cattle thieves. Guest-stars: L. Q. Jones, James Crittenden, Sandra Kerns, Fred Ward Writer: Chuck Bowman Director: Frank Orsatti

Episode 62: “Deep Shock” (Airdate: 12/12/80) Synopsis: Working at a power plant, Banner accidentally receives a massive electrical shock and develops the ability to see future events— including a life-threatening incident involving one of his co-workers. Guest-stars: Tom Clancy, Edward Power, Sharon Acker, Stefan Gierasch Writer: Ruel Fischmann Director: Reza S. Badiyi Episode 63: “Bring Me the Head of the Hulk” (Airdate: 01/09/81) Synopsis: A ruthless mercenary offers his services to find and kill the Hulk, and when The National Register’s chief rival hires him, he sets an elaborate trap that ensnares David Banner. Guest-stars: Sandy McPeak, Jed Mills, Jane Merrow, Walter Brooke Writers: Allan Cole and Chris Bunch Director: Bill Bixby Episode 64: “Fast Lane” (Airdate: 01/16/81) Synopsis: Banner, driving a car cross country and unaware that there’s stolen mob money in the trunk, is joined by a pretty waitress running away from her life—but mobsters and greedy mechanics are in hot pursuit to get their hands on the cash. Guest-stars: Robert F. Lyons, Victoria Carroll, Lee DeBroux, Dick O’Neill Writer: Reuben Leder Director: Frank Orsatti Episode 65: “Goodbye Eddie Cain” (Airdate: 01/23/81) Synopsis: An aging private investigator is determined to discover how the dead body found in his office ties in with his old flame and her mischievous daughter, a notorious gangster, a mysterious gardener named David, and a hulking green creature. Guest-stars: Cameron Mitchell, Jennifer Holmes, Anthony Caruso Writer: Nicholas Corea Director: Jack Colvin

Episode 66: “King of the Beach” (Airdate: 02/06/81) Synopsis: Banner befriends a hearing impaired man who hopes to win enough money in a bodybuilding competition to open his own restaurant—but the reigning champion and a pretty female con artist threaten to ruin his chances. Guest-stars: Lou Ferrigno, Leslie Ackerman, Charlie Brill, George Caldwell Writer: Karen Harris Director: Barry Crane Episode 67: “Wax Museum” (Airdate: 02/13/81) Synopsis: Banner takes a job at a wax museum run by a mentally troubled young woman whose condition seems to be getting worse, which could jeopardize the business and the lives of everyone around her. Guest-stars: Christine Belford, Ben Hammer, Max Showalter Writer: Carol Baxter Director: Dick Harwood Episode 68: “East Winds” (Airdate: 02/20/81) Synopsis: In San Francisco, Banner is unaware that there is a fortune in gold hidden in his apartment, making him the target of Chinese mobsters and an over-the-hill police officer. Guest-stars: William Windom, Richard Loo, Irene Yah Ling Sun, Richard Narita Writer: Jill Sherman Director: Jack Colvin

Episode 69: “The First” (Airdate: 03/06/81) Synopsis: Banner discovers that a Hulk-like creature existed 30 years ago—and that the scientist who created it was able to find a cure. Guest-stars: Harry Townes, Lola Albright, Billy Green Bush, Dick Durock Writer: Andrew Schneider Director: Frank Orsatti Episode 70: “The First Part II” (Airdate: 03/13/81) Synopsis: The Hulk-like creature of 30 years ago reappears and proves to be an evil killer that threatens an entire town and jeopardizes Banner’s best hope to finally cure himself. Guest-stars: Harry Townes, Lola Albright, Billy Green Bush, Dick Durock Writer: Andrew Schneider Director: Frank Orsatti Episode 71: “The Harder They Fall” (Airdate: 03/27/81) Synopsis: Banner is paralyzed after being hit by a car and must learn how to adjust to his new situation with the help of a kindhearted man who is also confined to a wheelchair. Guest-stars: Denny Miller, Peter Hobbs, Diane Shalet, William Bogert Writer: Nancy Faulkner Director: Michael Vejar Episode 72: “Interview with the Hulk” (Airdate: 04/03/81) Synopsis: Emerson Fletcher, a once-great reporter now working for The National Register, secretly follows up on one of Jack McGee’s Hulk leads— and not only discovers that David Banner is alive, but also convinces the fugitive scientist to sit down for an interview. Guest-stars: Michael Conrad, Walter Brooke, Jan Sterling Writer: Alan Cassidy Director: Patrick Boyriven Episode 73: “Half Nelson” (Airdate: 04/17/81) Synopsis: Banner is befriended by a midget wrestler who exaggerates tales of his own importance—tales that end up getting both him and David in trouble with a jealous full size wrestler and mobsters looking for missing cash. Guest-stars: Tommy Madden, H.B. Haggerty, Paul Henry Itkin, Elaine Joyce Writer: Andrew Schneider Director: Barry Crane Episode 74: “Danny” (Airdate: 05/15/81) Synopsis: Banner becomes entangled with a family of thieves who steal farm equipment—and he discovers that the young widow among them wants to run away with her infant son Danny and give him a better life. Guest-stars: Don Stroud, Bruce Wright, Robin Dearden, Taylor Lacher Writer: Diane Frolov Director: Mark A. Burley Episode 75: “Patterns” (Airdate: 05/22/81) Synopsis: Banner takes a job working for a clothing manufacturer who can’t pay loan sharks the money he owes them—and David finds himself on the receiving end of their retaliation. Guest-stars: Eddie Barth, Laurie Heineman, Paul Marin, Robert O’Reilly Writer: Reuben Leder Director: Nick Havinga

30 • BACK ISSUE • Hulk in the Bronze Age Issue

SEASON 5 (1981–1982) Episode 76: “The Phenom” (Airdate: 10/02/81) Synopsis: Banner befriends a naïve aspiring baseball player who’s being eyed by a ruthless sports agent. Guest-stars: Brett Cullen, Robert Donner, Anne Lockhart, Dick O’Neill Writer: Reuben Leder Director: Bernard McEveety Episode 77: “Two Godmothers” (Airdate: 10/09/81) Synopsis: Delivering linen to a women’s prison, Banner is taken hostage by three inmates making an escape—one of whom is about to give birth. Guest-stars: Kathleen Nolan, Suzanne Charny, Sandra Kerns, Penny Peyser Writer: Reuben Leder Director: Michael Vejar Episode 78: “Veteran” (Airdate: 10/16/81) Synopsis: Banner discovers that his new acquaintance, a troubled man obsessed with the Vietnam War, is planning to assassinate a powerful businessman running for political office. Guest-stars: Paul Koslo, Bruce Gray, Wendy Girard, Richard Yniguez Writers: Nicholas Corea and Reuben Leder Director: Michael Vejar Episode 79: “Sanctuary” (Airdate: 11/06/81) Synopsis: Working as a handyman for a group of nuns at a Catholic mission, Banner must pose as a priest to protect a wounded Mexican boy from a local corrupt businessman who specializes in human trafficking. Guest-stars: Diana Muldaur, Henry Darrow, Jerry Hardin, Fausto Barajas Writer: Deborah Davis Director: Chuck Bowman Episode 80: “Triangle” (Airdate: 11/13/81) Synopsis: Banner begins a romantic relationship with a young woman, but the most influential man in town doesn’t approve and wants David gone. Guest-stars: Andrea Marcovicci, Peter Mark Richman, Charles Napier, Mickey Jones Writer: Andrew Schneider Director: Michael Vejar Episode 81: “Slaves” (Airdate: 05/05/82) Synopsis: Banner and his female traveling companion are captured and enslaved by an escaped convict who forces them to dig for hidden gold. Guest-stars: Faye Grant, John Hancock, Charles Tyner, Jeffrey Kramer Writer: Jeri Taylor Director: John Liberti Episode 82: “A Minor Problem” (Airdate: 05/12/82) Synopsis: Banner enters a deserted town and discovers an elaborate cover-up involving a nearby laboratory and a deadly bacteria outbreak. Guest-stars: Nancy Grahn, Linden Chiles, Lisa Jane Persky, Xander Berkeley Writer: Diane Frolov Director: Michael Preece NOTE: A comprehensive list of the cause of each transformation from David Banner into the Hulk can be found at Kenneth Johnson’s official website: http://kennethjohnson.us/HulkOutList.html

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32 • BACK ISSUE • Hulk in the Bronze Age Issue

Hulk in the Bronze Age Issue

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BACK ISSUE • 33

With Thunderbolt Ross’ troops fast approaching, the Jade Giant made his way behind the mountains to his hidden van. The powerful green-and-purple machine traversed the barren desert plains, until finally arriving atop a hidden plateau. There the Green Goliath took to the skies in his custom-built helicopter, scanning the ground far below for any unforeseen threats. At last he arrived at his destination, his secluded Hulk Hide-A-Way headquarters, where he would be safe … for now. What, you don’t remember any of this? You could search your long boxes and DVD tower and you won’t find any such adventure of the Incredible Hulk. A story like this would have to be the product of a child’s imagination … combined with actual toys of the 1970s. Yes, Virginia, there really was a Hulk van, a Hulk helicopter, and a Hulk Hide-A-Way playset. From the sublime to the surreal, you name it, the Hulk was in on it during his Bronze Age merchandising heyday. Toys, clothing, lunchboxes—even toilet paper! When the Hulk TV show became a hit, manufacturers of all kinds saw green … and lots of it!

GREEN WITH ENVY The Hulk first graced retail shelves in the late ’60s, riding the wave of merchandise released in the wake of the Marvel Super Heroes animated series, of which Hulk was a part. Hulk was mostly just riding the coattails of the more popular Spider-Man and Captain America, always the third or possibly fourth choice to be added to a product line. He continued to appear sporadically on products throughout the early ’70s, always part of a larger Marvel line. He joined Mego’s World’s Greatest Super-Heroes line of action figures in 1975, but was only a marginal seller for the company. It appeared that the Hulk was forever doomed to be an also-ran in the Marvel licensing firmament. And then, millions of kids saw Bill Bixby get angry.

MARVEL’S TV SENSATION The Incredible Hulk aired as a television movie on November 4, 1977. Adult audiences were instantly captivated by the tragic story of David Banner, with Bixby deftly portraying a haunted man on the run. Kids loved it when Bixby turned into the green-hued Lou Ferrigno, whose massive presence wasn’t something regularly seen on TV. It didn’t take long for CBS to order a series, and The Incredible Hulk debuted as a mid-season replacement in March of the following year. Even though the TV series eschewed supervillains and military conflicts for smaller, human-interest stories, it didn’t matter. Both kids and parents were hooked on the Hulk, and soon there was plenty of Hulk merchandise for said parents to spend their hard-earned green on. Mego was in a great position to capitalize on Hulkmania, and quickly exploited the license while the

Hulk Want to Play! Pre-Bronze Age collectibles: Marvel’s 1966 Hulk poster, Marx’s 1967 Hulk figure, Tifton’s 1966 Hulk 45 RPM record, and the Traits’ 1969 “Nobody Loves the Hulk” record. Incredible Hulk TM & © Marvel Characters, Inc.

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Chris Franklin

original 8" Mego figure became one of their top sellers. 121/2" and 33/4" Hulk action figures were released, and Mego included the Jade Giant in its collector-aimed 5" diecast figure line, putting him in the esteemed company of Spider-Man, Superman, and Batman. Mego also produced a Hulk figure of a more dubious nature. Inspired by (or ripped off from) Kenner’s popular Stretch Armstrong, Mego made its own line of corn-syrup-filled stretchable figures under the Elastic Super Heroes brand, and the Hulk was one of them, joining Spider-Man, Superman, and Batman … but oddly enough, NOT Mr. Fantastic! [Editor’s note: However, that line did include the first stretchable superhero, Plastic Man, then the star of his own Saturday morning cartoon.]

BANNER YEARS With Mego Hulk figures selling like hotcakes, it was no surprise that savvy toymakers jumped on their coattails. Empire, famous for its ride-on toys and blow-molded holiday decorations, produced a series of licensed plastic vehicles, conveniently scaled to fit Mego’s popular 8" size. Empire released helicopters and/or

vans for CHiPs, Batman, Spider-Man, and, strangely enough, the Incredible Hulk. Sure, the idea of an 8-foottall man-brute driving a van may seem strange to diehard fans, but to toymakers, it was just a matter of taking advantage of a hot property. Empire wasn’t the only manufacturer making licensed, but unofficial additions to Mego’s line. Tara Toys, mostly known for their vinyl action-figure playcases, created the Hulk Hide-A-Way playset in 1979. The pyramid-like playcase appeared to be a mountain headquarters for the Hulk, who is shown on the vinyl-covered cardboard exterior. When the case is opened, the walls flatten out to become the floor of the high-tech Hide-A-Way. Cardboard computers are included, as well as a transmutation chamber, where children could transform the included flat, cardboard David (Bruce) Banner into the Hulk. Sears carried this playset as a catalog exclusive. Long-running toy manufacturer Remco circumvented Mego’s lock on superhero action figures by making non-articulated, electronic versions of Marvel and DC’s biggest and brightest. Remco made Hulk in both its 12" Energized and 9" Powerized lines. Hulk was once again rubbing elbows with DC and Marvel’s top

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Mego and More (clockwise from left) The Mego Hulk in box, Hulk thermos and metal lunchbox, the Mego Hulk on blister card, and the Hulk Hide-A-Way playset. Incredible Hulk TM & © Marvel Characters, Inc.

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Weird, Wild Stuff (clockwise from top left) An ad for Remco’s shirt-filling Hulk Instant Muscles, Mego’s 12" Hulk figure in box, and a boxed Hulk utility belt (?!). Incredible Hulk TM & © Marvel Characters, Inc.

stars, Superman, Batman, and Spider-Man. Poor Captain America managed to get a 9" figure, but not a 12" version. During this period, Hulk clearly replaced the good Captain as Marvel’s #2 merchandisable hero. Remco also made one of the most novel and appropriate Hulk toys ever conceived. Hulk Instant Muscles allowed kids to “Hulk out” just like Dr. Banner; via a vest with plastic muscles that could be inflated with an attached pump. When placed under a loose shirt, the effect was actually quite convincing. Another role-play item by Remco that was less convincing was the Hulk Utility Belt. Remco’s parent company, rack toy king AHI, made Hulk merchandise of a similarly dubious nature. Much like they had done for Spider-Man, AHI simply took its previously released Batman themed-toys and reconfigured them for the Hulk. Of course, multiple vehicles and gadgets is one of the appealing aspects of the Batman mythos, but the Hulk usually has nothing but his purple pants to keep him company. This didn’t stop AHI from making Hulk helicopters (again!), Hulk motorcycles, Hulk gamma guns, and even Hulk speedboats! While these incongruous items have a whacky charm about them, other licensors put a bit more thought into their products. FunStuf released a rather ingenious Hulk toy known as the Hulk Rage Cage. A rubber figure of the Hulk with a breakaway felt and Velcro shirt was placed inside a large plastic cage. Much like Remco’s Instant Muscles, children could pump up the figure like a balloon, enlarging the Hulk, ripping the shirt, and bursting through the walls of the cage. The figure proved so popular FunStuf applied the mechanism to figures of Marvel’s the Thing, and even Frankenstein’s Monster and Dracula.

THE GAMMA GRAVY TRAIN DERAILS As good as the ’70s were to the Hulk, the ’80s were perhaps his roughest patch as far as his merchandising goes. The early ’80s were hard times for superhero merchandise in general. Mego struggled and eventually went bankrupt, and science-fiction and fantasy toys took up much of children’s time. Just as the Hulk’s live-action series was fizzling out, an animated version was added to the popular Spider-Man and His Amazing Friends cartoon. This didn’t result in any real spike in Hulk merchandise. The character continued to appear on toy shelves via rack toys and general Marvel releases, but few memorable Hulk items appeared during this time. 36 • BACK ISSUE • Hulk in the Bronze Age Issue

Perhaps the biggest slap in the face to Hulk fans was the character’s exclusion from Mattel’s Marvel Super Heroes Secret Wars action-figure line. The toy line was based on a 12-part comics miniseries where the Hulk was prominently featured, but the toy line included some rather strange figure choices. Perhaps the Hulk was snubbed due to his large size, requiring Mattel to tool an all-new body. As the major Marvel toy line of the ’80s, it seems odd that one of the company’s top characters was completely overlooked. As rough as the early ’80s were, the end of the decade was absolutely abysmal for Hulk fans and collectors. As hard as it is to believe now, very little Marvel merchandise could be found between 1987 and 1990.

GOLDEN AGE OF GREEN Thankfully, in 1990 the fledgling toy company Toy Biz acquired the Marvel license and produced a new line of Marvel superhero action figures, and Hulk was front and center in the very first series. Throughout the decade, the Hulk made numerous appearances in the main toy line, and even received his first action-figure series of his own in conjunction with his mid-’90s animated series. There, Hulk’s rogues’ gallery and supporting characters such as the Leader, the Abomination, Doc Samson, and She-Hulk were represented on toy shelves for the first time. With two recent feature films and a scene-stealing role in the massive hit Marvel’s The Avengers, it’s impossible to walk into a toy department and NOT see the Hulk somewhere. Most of these modern toys make sense, from action figures, and electronic Hulk Fists that recall the old Instant Muscles. But even today you can find the Hulk riding an ATV or a Hulk Transformer toy that turns into a tank. As long as kids can think outside the box, toy companies will gladly take their green. CHRIS FRANKLIN would like to thank Brian Heiler, of www.plaidstallions.com and author of Rack Toys: Cheap, Crazed Playthings. These resources were invaluable in composing this article.

Dewey

As with a lot of things at Marvel Comics, it all started with Stan Lee. The year was 1977 and Marvel had launched a syndicated newspaper strip based on The Amazing Spider-Man, with Lee scripting the stories and TM veteran Spider-Man comic-book artist John Romita, Sr. drawing the panels. The Spider-Man strip was a success, and soon Marvel began looking around for other characters to put in the funny papers. Next out of the gate was Howard the Duck, which debuted in June 1977, followed by Conan the Barbarian, which began its run in September of the following year. Then, on Monday, October 30, 1978, The Incredible Hulk first appeared in newspapers. As with Spider-Man, Howard the Duck, and Conan, the Hulk strip was distributed by the Register and Tribune Syndicate, but while the other strips from Marvel featured supporting characters from the comic books, the Hulk strip did not, because at the time the Hulk strip began, there was a place the Jade Giant was even more widely recognized than in comic books—television. With the success of the Incredible Hulk live-action television show, covered at length earlier in this issue, Stan Cassell Lee decided to use its Fugitive-inspired formula as the basis for the Hulk newspaper strip. Adults comprise the majority of newspaper readership, and they were more likely to have seen the show than to have read the comic books. However, the stories in the Hulk newspaper strip were unique— they didn’t mirror the television show, although they utilized a similar premise. Furthermore, likenesses of the television actors was not used in the strip. Like the television show, though, the Hulk did not speak and he was not as strong or resilient as in the comic books. The Incredible Hulk newspaper strip was initially written by Lee and penciled by his brother, Larry Lieber. larry lieber Lieber had been writing and drawing comic books for Marvel since the 1950s. However, Lee soon found that he had too much on his plate and Lieber took over writing the strip as well, initially ghosting for Lee and later scripting with his name in the byline.

GOOD TIMES Lieber enjoyed working on the Hulk strip: “It started out Stan was writing it and I was drawing it. But after a while, he gave up writing it and turned it over to me. He sort of left it in my hands. So I wrote it and drew it, and that I loved most of all. It was all mine when I wrote it. I felt more creative doing that. It is a story with pictures, but the main part of it is the story. I think that if you have wonderful pictures, but a poor story,

Buckle(r) Up for the Sunday Funnies Courtesy of the strip’s second artist, Rich Buckler, the Incredible Hulk installment for Sunday, October 14, 1979. Despite the byline, its writer was (the ghosting) Larry Lieber. TM & © Marvel Characters, Inc.

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you won’t have a good strip. If you have a wonderful story, but poor pictures, you can still have a very good strip. I’ve always felt the story was the most important thing. Most readers are not art critics. “The artist who drew better than anybody I ever saw was John Buscema,” Lieber continues, “but I don’t know if his work would have sold the best just because of the drawing. Dick Tracy didn’t have great artwork, but it was a very popular strip. When I wrote the Hulk strip, I tried to make it almost as good as the movies that I had seen at the time that I enjoyed, as though I was writing an important screenplay.” Lieber was a fan of the Hulk television show, and it was reflected in his work on the newspaper strip. Lieber recalls, “I was influenced by it because they seemed like actual people in real settings. I tried to do the same kind of thing. I made up the characters myself. I can still remember some of those stories. I did one about a boxer and his daughter. She’s a model and he’s a boxer, and she hates him because he left her mother and all that. One story I had was with the Hulk and three women. One was a mud wrestler, one was a karate expert, and one was a gal from Texas who had a rich father she was running

Larry’s Labors Alan’s, too! (center) The very first Incredible Hulk daily, from Monday, October 1978. (bottom) The first Sunday page, from November 5, 1978. Note the “widescreen” stacked, vertical panels at the far right of the middle tier. Both strips written by Stan Lee and drawn by Larry Lieber. (top) Alan Kupperberg’s character sheet for the Hulk cast, from 1979. Original art scans courtesy of Richard Morgan— thanks, Richard! TM & © Marvel Characters, Inc.

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Walking the Plank (top) Signed by its artist and contributor, Rich Buckler, the September 11, 1979 Hulk daily. Written by Larry “Stan Lee” Lieber. (bottom) Courtesy of artist Alan Kupperberg, an ad flat promoting a new Hulk storyline.

away from. I really enjoyed writing those women and That creative freedom extended to the Register and drawing them, and the way they interrelated with David Tribune Syndicate as well. Buckler recalls, “We rarely if Banner and the Hulk. I wrote one story about a sheriff ever even heard from them. I do recall that there was and a werewolf, down South in a swamp one small correction I had to do on one penciled someplace. I had a lot of fun with it.” figure for the Banner character. That was It was not the Hulk, though, but his requested by Sol Brodsky, who at that alter ego that truly appealed to Lieber, time was in charge of the art production as he explains: “I prefer writing about side (preparing the art that was sent humans—and I like drawing people. to the syndicate). Aside from that, I tried for realism, because that’s what there were literally no art changes.” I enjoyed the best. Maybe that’s why From the beginning, there were I liked doing the Rawhide Kid when I a variety of inkers on the Hulk strip. did it many years ago. I wrote it and As Buckler notes, “The art was inked I drew [Rawhide Kid] for seven years. To in-house, so it always had that Marvel me, he was not a superhero. I regarded look. Most of the inking for the strip him as a real person. And with the Hulk strip, I had David Banner interrelating rich buckler with other characters. In a sense, the Hulk was less important to me. It was David Banner that I cared most about.” Lieber demonstrated a lot of creativity in the Hulk strip, including the occasional use of vertical panels, one on top of the other, a technique he also employed when he later started drawing the Spider-Man strip. Lieber explains the rationale: “I don’t do it often now, but I did it then, when I thought the story called for it. You know, if the main character has knocked out five people, you can have a wide scene of them lying there. I thought it would be effective. I only did it when I thought it made sense and looked good.”

TM & © Marvel Characters, Inc.

ARTISTIC CHANGES In the spring of 1979, Lieber began looking for some help on the strip and turned to artist Rich Buckler. Buckler explains, “I was working for Marvel almost exclusively at the time and I got to know Larry Lieber. Larry was ghosting the writing for Stan and also penciling the Hulk newspaper strip. He asked me one day if I would be interested in drawing it because he was feeling overworked. Larry knew I had some experience in newspaper strip illustration (Secret Agent Corrigan for Al Williamson, The Phantom for Sy Barry, and Flash Gordon for Dan Barry). I ghost-penciled for Larry Lieber for about a month on the strip. I did quite a few uncredited Sunday pages and dailies. It was an informal arrangement at first. As things progressed Larry got me a byline, so the credits changed to ‘by Stan Lee and Rich Buckler.’ Working with Larry was, as always, a pure pleasure. I did my own layouts and Larry gave me a lot of artistic freedom. You couldn’t do all-out ‘pull out the stops’ Hulk-type action because there just wasn’t room. Still, I did what I could to make it as exciting as possible.”

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The Incredible Kupp (top) Written and illo’ed by Alan Kupperberg, the daily from September 4, 1982. (bottom) Marvel baddies Hyde and Cobra slither into Kupperberg’s Hulk— but not into print, as the strip ended without these being published … until now. Courtesy of Alan K. TM & © Marvel Characters, Inc.

was done by Frank Giacoia and Joe Sinnott, with an occasional art mine.” Several strips featuring Hyde and the Cobra were already assist by Mike Esposito. I did ink some early strips, but it was hard to written and drawn, but never published. keep up with the deadlines, since I was still drawing comic books for Kupperberg enjoyed doing the Hulk strip, but he also kept it in Marvel, so I concentrated on just pencil art. I drew the strip for perspective, as he recalls: “When I was doing the Howard the Duck approximately six months.” strip, I lived in New York City. They ran it in, I think, The New Buckler’s replacement was no stranger to newspaper York Post, and I realized that as I walked around the city, comic strips: Alan Kupperberg. Kupperberg explains, my artwork was in every trash can that I passed by, “Rich Buckler had immediately preceded me on the whereas my comic books, people were saving them.” strip. I think he got too busy or wasn’t available The Incredible Hulk newspaper strip lasted longer to do it anymore. I had been drawing the Howard than both Howard the Duck and Conan, drawing to the Duck strip and the Conan the Barbarian strip, a close on September 4, 1982. (The last episode so when they needed help on the Hulk strip, they of the Hulk television show aired on June 2, 1982.) naturally thought of me. Of course, I had known In the early 1980s, Ace/Tempo Books reprinted several Larry when we worked together up at Atlas storylines from The Incredible Hulk newspaper strip [Seabord] Comics for Martin Goodman.” in a series of five paperback books. Like Buckler, Kupperberg ghosted some of the The Amazing Spider-Man is still in syndication earlier strips, but by late November 1979 his name and Lieber continues to draw the daily Spidey strip, appeared in the byline. Lieber still penciled some a run of some 26 years. But he still has fond memories alan kupperberg of the strips, as did artist Charles Nicholas, but of his other strip: “I liked the Hulk character and Kupperberg did the majority of the artwork on the I enjoyed writing as well as drawing the strip. I was later storylines, even taking over the scripting. Notes Kupperberg, “I was very proud when Stan looked at the Hulk strip, and he thought writing it, too, at the end. There are some sequences that I feel look it was very well written. At one point he better than others. I really like the look in the Mountain Man episode said, ‘I think it’s even more dramatic than toward the end.” He had even planned to introduce a rare appearance Spider-Man!’” of supervillains into the Hulk strip, but it was not to be. ’Nuff said. Kupperberg explains how the strip reached its conclusion: “The Sincere thanks to Larry Lieber, Rich Buckler, and Alan strip ended in the middle of a story. Sol grabbed me in the office one Kupperberg for their recollections and examples of the day late in the afternoon, and said, ‘The strip is dead.’ But we had to Hulk strip, and to Richard Morgan for the images from tie it up, so we needed six dailies to tie it up. So I went home and I his art collection. did six dailies. I was back 19 hours later with the six dailies to tie up the story, which had the Hulk walking off into the sunset or some- DEWEY CASSELL is a frequent contributor to BACK thing like that. I was going to bring him back to New York City to ISSUE and author of the book Marie Severin: The Mirthful Mistress of Comics, available from fight Hyde and the Cobra. I was going to have the Hulk have a new TwoMorrows Publishing. He is currently working on a sidekick or friend, temporarily, who was based on a real-life friend of book about another Hulk artist, Herb Trimpe. 40 • BACK ISSUE • Hulk in the Bronze Age Issue

Mark Arnold

Crazy Magazine began in 1973 as a black-and-white alternative to MAD. The first 14 issues were edited by Marv Wolfman and later Steve Gerber, and are among the best satire magazines ever produced, a worthy Marvel product. One of the regular artists assigned to the series was Marie Severin, sister of John Severin, who had made a comedy name for himself originally at MAD and more significantly at its competitor, Cracked. By issue Crazy #15 (Jan. 1976), the editorial reins were handed over to Paul Laikin, who had an amazing pedigree of writing for virtually all of the blackand-white humor magazines ever produced, but also editing three of the most prominent ones: Cracked, Sick, and Crazy at one time or another. With Laikin at the helm, Crazy declined from a rather witty, clever, and sometimes sardonic magazine into a somewhat tame and predictable publication along the lines of Cracked. The only thing going for Crazy at the time were the excellent covers painted by Bob Larkin and the fact that it was issued by Marvel. The humor larry hama was serviceable but unremarkable, Photo by Luigi Novi. and virtually all of the people associated with the first 14 issues went on to do other things, including Marie Severin. Then, with issue #59 (Feb. 1980), a strange thing happened. The inside back cover teased a new story written by Larry Hama and drawn by Marie Severin with a character named Teen Hulk. Obviously inspired by the recent Hulkmania of The Incredible Hulk TV show starring Bill Bixby and the Savage She-Hulk comic-book title, Teen Hulk loosely borrowed from what made Spider-Man so successful: an awkward teenager suddenly endowed with superpowers. Since the preview was only a page and Crazy had been known to not always follow through on ideas, seeing a full seven-page story in issue #60 was somewhat of a surprise. The origin story reveals that Marie Severin and Larry Hama were behind this new creation. It is a take-off on the origins of the Amazing Spider-Man and the Incredible Hulk, where a teenager named Chester Weems is zapped by his dentist’s new Gamma Ray Cavity Decoder. The Decoder’s X-rays bombard Weems, and like the Incredible Hulk, Chester turns into Teen Hulk whenever he gets angry. As Teen Hulk, Weems beats up his Millard Fillmore High School bullies, and the initial story is left as a cliffhanger as Teen Hulk rides a skateboard on a collision course with a truck. Hama remembers the origin of where Teen Hulk came from: “We needed a new feature for Crazy. Jim Owsley (Christopher Priest) came up with most of it. It was funnier and more visual than a Teen Thor or any other ideas.”

Mean, Green Teen From Crazy #59 (Feb. 1980), the Larry Hama/Marie Severin teaser for the mag’s new Teen Hulk feature. TM & © Marvel Characters, Inc.

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TM & © Marvel Characters, Inc.

Young Greenskin (top left) Teen Hulk’s Amazing Spider-Maninspired origin, from Crazy #60. (top right) First Baby Hulk, from issue #72. (bottom left) From Crazy #81. (bottom right) From Crazy #87. (above) A rare Teen Hulk cover appearance, on Crazy #70. See sidebar on page 44 for creator credits and cover dates. Special thanks to Mark Arnold for this article’s art scans. TM & © Marvel Characters, Inc.

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DC Comics Resents (left) Teen Hulk crowds onto Bob Larkin’s cover for Crazy #81 (Dec. 1981). (right) “Draw the Baby Hulk Contest,” and (below) the contest winner gets what’s comin’ to him, both from #78. TM & © Marvel Characters, Inc. Superman TM & © DC Comics.

Issue #61 was a Super Special featuring reprints, then Teen Hulk returned in issue #62, the final issue edited by Laikin. Hama took over the editorial reins and remained editor until the end of Crazy’s run in 1983 with issue #94. Teen Hulk remained as a regular and also a popular feature, even appearing on the covers of issue #70 and 81, and in the artwork of the ongoing “Crazy Contest” feature that began in #77. Issue #71 brought the Hulk legend to even more ridiculous levels with the debut of Baby Hulk, a three-panel strip located at the bottom of the final page of the Teen Hulk feature. Then, in #72, Crazy held a contest to “Draw the Baby Hulk.” The winner was announced in issue #78, which featured a cameo by the winner. Issue #81 was also the issue that Bob McLeod took over as artist on the feature. McLeod comments as to why: “Marie Severin turned it over to me because she was busy doing cover layouts for the color comics.” McLeod was already a Crazy veteran: “My first work in comics was the movie satire of WestWorld for Crazy #5 in 1974, and I did several other movie satires after that. I didn’t draw Teen Hulk until 1981, after my skills had improved quite a bit. I like the work I did on Teen Hulk, because I basically knew what I was doing by that time. My first work in comics was pretty raw by comparison. “I gained a lot of experience in storytelling doing Teen Hulk, which I later used penciling dramatic comics. As a young artist, I had intended to do humor art like Teen Hulk as the main focus of my career, and I moved into dramatic comics only because that’s where all the work was. I think Hulk in the Bronze Age Issue

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TEEN HULK CRAZY MAGAZINE INDEX • #59 (Feb. 1980) – Untitled one-page preview written by Larry Hama and drawn by Marie Severin. • #60 (Mar. 1980) – “The Incorrigible Teen Hulk: The Origin” (7 pages) – Script: Michael Pellowski. Art: Marie Severin and John Tartaglione. A Marie Severin – Larry Hama Creation. • #62 (May 1980) – “Teen-Hulk!” (no title given) (5 pages) – Script: Mike Pellowski. Art: Tom Sutton. • #63 (June 1980) – “Teen-Hulk!” (no title given) (5 pages) – Script: Mike Pellowski. Art: Tom Sutton. • #66 (Sept. 1980) – “Teen-Hulk!” (no title given) (5 pages) – Script: no credit given. Art: Marie Severin and John Tartaglione. • #68 (Nov. 1980) – “Teen-Hulk!” (no title given) (3 pages) – Script: Jim Owsley. Pencils: Ron Wilson. Inks: John Tartagione. Lettering: Jose Rafael. • #69 (Dec. 1980) – “Teen-Hulk!” (no title given) (3 pages) – Script: Jim Owsley. Art: Marie Severin. Lettering: Rick Parker. • #70 (Jan. 1981) – There is no Teen Hulk story in this issue, but Teen Hulk does appear playing the guitar on the front cover, drawn by James Sherman. • #71 (Feb. 1981) – “Teen-Hulk!” (no title given) (3 pages) – Script: Jim Owsley. Art: Marie Severin. Lettering: Jose Rafael. • #72 (Mar. 1981) – “Teen-Hulk!” (no title given) (3 pages) – Script: Jim Owsley. Art: Marie Severin. Lettering: Joe Albelo. • #75 (June 1981) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley and Marie Severin. Art: Marie Severin. Lettering: Irving Watanabe. • #77 (Aug. 1981) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art: Steve Toomey and Frank Giacoia. Lettering: Jose Rafael. • #78 (Sept. 1981) – “Teen-Hulk!” (no title given) (3 pages) – Script: Jim Owsley. Art: Marie Severin. Lettering: Rick Parker. • #79 (Oct. 1981) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art: Marie Severin. Lettering: John Morelli. • #81 (Dec. 1981) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art and lettering: Bob McLeod. Teen Hulk also appears on the front cover, painted by Bob Larkin. • #82 (Jan. 1982) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art and lettering: Bob McLeod. • #83 (Feb. 1982) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art: Bob McLeod. • #84 (Mar. 1982) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art and lettering: Bob McLeod. • #85 (Apr. 1982) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art and lettering: Bob McLeod. • #87 (June 1982) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art and lettering: Gary Hallgren. • #88 (July 1982) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art: Gary Hallgren. • #89 (Aug. 1982) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art: Gary Hallgren. • #90 (Sept. 1982) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art: Gary Hallgren. • #91 (Oct. 1982) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art: Gary Hallgren. • #92 (Dec. 1982) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art: Gary Hallgren. • #93 (Feb. 1983) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art and lettering: Gary Hallgren. • #94 (Apr. 1983) – “Teen-Hulk!” (no title given) (4 pages) – Script: Jim Owsley. Art: Gary Hallgren. 44 • BACK ISSUE • Hulk in the Bronze Age Issue

The End of Teen Hulk The green teen’s final appearance, from Crazy #94 (Apr. 1983). TM & © Marvel Characters, Inc.

my strength has always been humor and caricature more than superheroes. It’s too bad they weren’t equally in demand in our comics culture. “I was working on several projects around the same time, because the Teen Hulk strip was only four pages a month,” McLeod says. “I think I stopped doing Teen Hulk when I started work on The New Mutants, because that took up so much of my time.” With #87, Gary Hallgren took over the art chores until the end of Teen Hulk’s run with the cancellation of Crazy Magazine with issue #94. Will Teen Hulk resume? Will the series ever be reprinted? There are 102 pages of stories that appeared regularly from issue #59 through 94. To my knowledge, Teen Hulk or Baby Hulk never appeared in any other Marvel publication, but will there be a reprint? McLeod comments, “I really doubt it, although you never know. I don’t think humor comics sell well enough, for whatever reasons.” Hama adds, “Probably not. Seen the sales figures for MAD lately?” MARK ARNOLD is a pop-culture historian. His books cover the subjects of Harvey Comics, Archie Comics, Underdog, Cracked Mazagine, The Beatles, and Walt Disney Productions. He also also appeared on DVD commentaries for Casper, Underdog, and Tennessee Tuxedo. He is currently at work on another book about Harvey Comics.

Madness: (mad-nis) noun 1. the quality state of being mad: as rage, insanity, extreme folly 2. extremely foolish behavior.

John “THE MEGO STRETCH HULK” Cimino by

Madness: a word that best describes the Abomination, a villainous monstrosity that has been terrorizing the Marvel Universe for many years. His heated rivalry with the Incredible Hulk is legendary and has caused more collateral damage than the US Army cares to admit. By gaining immense size and strength through gamma-radiation poisoning, the Russian spy known as Emil Blonsky went from a quest to conquer the world to losing what was left of his sanity. Little did he know that this “transformation” would cause more pain and heartache in his life than he could have ever imagined. Not only would he lose the woman he loved, he would be constantly thwarted by the Hulk and repeatedly used and manipulated by villains for their nefarious schemes. Through it all, Emil would suffer from extreme emotional breakdowns and act so irrationally at times that no one, not even he himself, knew what he was going to do next. So the question has always remained: Was it Emil’s brush with gamma radiation that caused his descent into madness, or was his suppressed insanity already there?

“He was more complex than other villainous brutes.” – Steve Englehart

WHO IS EMIL BRONSKY? A vast majority of the Earth’s population cannot survive exposure to gamma radiation. This powerful radiation causes sickness and, in almost every case, immediate death. However, for a select few, gamma radiation transforms or mutates a person’s physical form based upon their subconscious image. In Emil’s case, this unique transformation was something more. It seems to affect his mental stability. Bringing up the question, Was Emil insane after the gamma radiation entered his physiology or was he always unstable from the very beginning?, with each exciting appearance of this massive monster, one could almost chart his descent into the insane. Even from his first appearance there is a hint of what was in store for this much-maligned enemy of Ol’ Greenskin.

Monster Mash-Up The Incredible One versus the Abominable One in a dynamite 1979 painting by Rich Larson and Steve Fastner, produced for a Marvel portfolio issued in 1980 by SQP, Inc. Courtesy of Heritage Comics Auctions (www.ha.com). TM & © Marvel Characters, Inc.

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Hulk Hiatus Emil Blonsky has blindsided other Marvel heroes in his abominable career, including (left) the Sentinel of the Spaceways in Silver Surfer #12 (Jan. 1970) and (right) the Thunder God in Thor #178 (July 1970). Both covers by “Big” John Buscema. TM & © Marvel Characters, Inc.

“The Abomination was very formidable and very ugly! Almost the Hulk’s equal.” – Sal Buscema

Readers are introduced to the Abomination in the two-part Hulk adventure in Tales to Astonish #90 and 91 (Apr. and May 1967). In Emil’s past life, he shared a tremendous love for his wife, Nadia Blonsky. They shared a final kiss before he was sent to the US to spy for the Russian government on the Gamma Base in New Mexico. This was a very important moment in his history because it shows that Emil did have the capacity to love and care for someone despite his own complicated psyche. But going to Gamma Base wasn’t the best of ideas on that day, because this leads us into the area where the Abomination is born. When Emil disguises himself as an MP and finds Bruce Banner inside on a mission to end his life with a deadly dose of Gamma Rays, Major Glenn Talbot and some soldiers soon grab Banner and drag him away. Emil, not savvy to this science, quickly finds himself bathed with extremely high doses of gamma radiation. Soon Emil Blonsky is no more, and a massively scaled and lizard-like brute known to the world as the Abomination rages forth and goes on a wild rampage. This attracts the Hulk when tensions get too high for Bruce Banner, and he changes into his greenskinned alter ego. Predictably, the two rampaging brutes slug it out in a nice tussle in which the Abomination proves to be the physically superior at this time, and the Abomination knocks the Hulk completely out (no small feat indeed). He then turns, scoops up Betty Ross, and leaps away into the sky (hey, why not?). We all know this will fuel the Hulk even more, and he eventually beats up our dastardly villain in the rematch. But the real winner is the cosmic being known as the Stranger, who takes Emil as a prisoner to use in his own grand designs (BOOM!). 46 • BACK ISSUE • Hulk in the Bronze Age Issue

The Abomination and his erratic actions come out in full effect during his time in space when he confronts the Silver Surfer (Silver Surfer #12, Jan. 1970) and then the Thunder God Thor (Thor #178, July 1970) when trying to escape from his prison. Both of these super-heavyweight heroes put a hurtin’ on Emil and he suffers more bitter defeats and brain damage. During these adventures, Emil is shown to have the capacity to lose all sense of rational thought, even in the most dire of circumstances. For instance, he had a chance to escape after Thor set him free from his cell, but instead of just leaving, Emil decided to try and take over the Stranger’s ship for his own purpose—bad move, big guy, because Thor was having none of that (KRAAKA-KOOM!).

NOT ONE TO LEARN HIS LESSON… It is unknown how much the stress of being held captive by the Stranger damaged Emil’s mind, but he clearly became much more vicious and seemed to focus that viciousness on the Hulk. It’s highly likely that Emil blamed the Hulk for his recent predicaments (which ultimately consumed him). As seen in The Incredible Hulk #136 and 137 (Feb. and Mar. 1971), while fighting on a nameless asteroid and defeating a huge creature, the space sailor known as Xeron the Star-Slayer brings the Abomination on board his flying vessel to use his great strength as an oarsman. The Abomination, always looking to get ahead, challenges the first-mate of the ship to a death duel and kills him. Now with the mantle of first-mate, the Abomination stands above all on the ship except for Xeron and the leader, Captain Cybor. Both are on a fanatical mission to capture the giant energy beast known as Klaatu. This leads them to New York City, where they end up losing Klaatu in the chase, but they gain a new crew member in the Hulk. Naturally, when the Abomination confronts Jade Jaws they begin fighting, but both brutes are made to put aside their differences for the greater purpose in capturing Klaatu. Throughout the entire quest, the two brutes just want to tangle and ultimately end up forgetting about the mission entirely and fighting it out (sweet poetry). Drifting through space, the Abomination is eventually overwhelmed by the Hulk’s increasing strength and endurance and is punched so hard that he is sent rocketing back toward Earth (Y-OUCH!!!).

“Archie Goodwin and Marie Severin influenced my work on the Abomination. You needed to be big and strong or control creatures that were big and strong to be a Hulk villain.” – Steve Englehart

The first real signs of the Abomination at the throes of his madness come in Hulk #159 (Jan. 1973), when he is awakened after being in a coma for almost two years (due to his fall from space). He is obviously not too happy about it and goes out and vents that unhappiness against the world—and especially, against the Hulk. Both brutes eventually fight it out in a massive slugfest, but Emil begins to crack up emotionally, has himself a good maniacal laugh about it, and then gets himself knocked out once again (ARRGHH!). This pattern of getting defeated by the Hulk and being manipulated by the Army while breaking down mentally will consistently recur as a trend in the life of this monster (especially during the 1970s, which proved to be a tough decade for him). When he teams up with the Rhino and tries to take over Gamma Base in Incredible Hulk #171 (Jan. 1974), things don’t go as planned. In a Hostess Fruit Pies advertisement dubbed “The Twins of Evil,” where he teams up with the Wendigo (hey, Johnny Romita, Sr. drew this, so I’m giving it recognition), he double-teams the Hulk for a short victory, but after some kids give the Hulk a taste of those delicious Hostess Fruit Pies, all bets are off. And finally, after another massive brawl with the Hulk in Incredible Hulk #194–196 (Dec. 1975–Feb. 1976), the Abomination knows there really is no chance for victory and tries to escape inside a missile that is launching into space, but it will explode after the Hulk knocks it off course (UUGGHH!). Emil will next be seen as a servant to the all-powerful entity known as the Galaxy Master in Incredible Hulk #270 (Apr. 1982). Now being billed as the “Ravager of Worlds,” Emil has been fully restored from his previous death and empowered with more strength than ever before. On paper, this seemed like a good thing when fighting against the increasing power of the Hulk, but in the long run, it didn’t prove to be enough as the Abomination suffered another defeat at the hands of his arch-nemesis, lost his enhanced strength, and apparently became lost in space (OOOFF!).

RUNNING WITH A BAD CROWD Soon we see Emil at an all-time low, in Incredible Hulk #287–290 (Sept.–Dec. 1983). The villain known as MODOK (Mental Organism Designed Only for Killing) allies himself with General Thunderbolt Ross to revive the Abomination, who was found in a block of ice floating above the Earth and then kept in cryogenic storage at Gamma Base. MODOK has plans to use the Abomination’s strength against his superiors known as A.I.M. (Advanced Idea Mechanics), while Ross hopes he will also try and destroy the Hulk. The Abomination, however, has become so emotionally unstable by his defeats at the hands of the Hulk and all his painful experiences that he has to be mentally manipulated by MODOK to fight him. Here is another example of the Abomination’s mental instability in full effect, and the readers must wonder if he truly loses it at this point, or if it was all just suppressed within his psyche. However, the results are disastrous, as the unstable Abomination is badly beaten by the Hulk (who now possesses Bruce Banner’s mind) and is eventually disintegrated into dust by MODOK for his failure (OUCH!).

A Hulkinuing Hatred From the Heritage Auctions archives, the Hulk/Abomination feud is seen in this cliffhanger and pickup, from (top) Incredible Hulk #136 (Feb. 1971) and (bottom) #137. Script by Roy Thomas, art by Herb Trimpe and Mike Esposito. TM & © Marvel Characters, Inc.

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Why Can’t We Be Friends? A pummelin’ pair of Hulk vs. Abomination covers: (left) Incredible Hulk #159 (Jan. 1973), cover art by Herb Trimpe; and (right) issue #195 (Jan. 1976), cover art by Ed Hannigan, Mike Esposito, and John Romita, Sr. TM & © Marvel Characters, Inc.

Next we get a little “hiccup” in Marvel Universe chronology as the Abomination is seen in Code of Honor #3 (Apr. 1997), where the villains are free to roam the Earth without any interference from the heroes (who are off on another planet fighting in the first Secret Wars), and it’s up to the N.Y.P.D. to stop them. This was prior to the events that happened in Secret Wars II #7 (Jan. 1986), where the Abomination is reconfigured from dust by the Lord of the Underworld, Mephisto, to attack the cosmic entity known as the Beyonder. Despite teaming with a bunch of other villains, the Abomination cannot hope to defeat the cosmic god, who is also being protected by the Thing. Emil is then sent back up into space to become dust once again (RRAAGHHH!). If things couldn’t get any stranger for the Abomination, Incredible Hulk Annual #15 (1986) put an end to those doubts. After aimlessly floating in the Earth’s atmosphere for a long time, the Abomination’s particles manage to mingle with the mind of another Hulk-hater, Tyrannus. The megalomaniacal villain somehow manages to reintegrate himself within the brute. This fuses the Abomination’s body back to solid form and he crashes back onto the Earth. Tyrannus (now as the Abomination and mentally fighting off Emil Blonsky for total control) soon comes into conflict with the “Gray” Hulk, and quickly defeats this weaker incarnation. When the Hulk reverts back to Bruce Banner, Tyrannus forces him to create a procedure that will separate him from the Abomination’s body.

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Banner agrees so he can keep Betty Ross safe from his harm. Tyrannus then enters a nutrient bath, but just as Emil’s form begins to detach itself from the Abomination’s body, S.H.I.E.L.D. agents batter down the door and blast at everything in sight. Bruce gets excited, turns into the Hulk, and engages them. Their fight damages the nutrient bath, as the Abomination emerges from the water with the body of Emil Blonsky under his arm. Unfortunately, Tyrannus is still locked inside the monster and is so angry about it that he tries to kill Betty Ross. The Hulk attacks him, and this time gets angry enough to knock out his arch-foe(s). S.H.I.E.L.D. puts the unconscious Abomination/Tyrannus into holding, and as Emil is being placed into their custody, he tells Banner that it was fun at first, but he is relieved to be free of the Abomination (awww, too bad good things never last). This Abomination/Tyrannus would eventually escape from his prison and come across some rather embarrassing defeats at the hands of Wonder Man in West Coast Avengers #25 (Oct. 1987) and Hawkeye (that exploding arrow trick gets ’em every time) in Solo Avengers #12 (Nov. 1988). But it was during the “Atlantis Attacks” storyline, in Amazing Spider-Man Annual #23 (1989), that saw the return of Emil Blonsky to the Abomination’s body. The Atlantean high priest known as Deviant Ghaurf and the villainous Llyra would free the Abomination/Tyrannus and bring him to the Avengers Mansion, where they would transfer

Hulk Like Pies! The Abomination and Wendigo team up against Jade Jaws in this tasty Romita-rendered Hostess ad. (inset) Emil’s ugly puss graces the cover of the Art Adamsdrawn cover of Marvel Super-Heroes #6 (July 1991). TM & © Marvel Characters, Inc. Hostess Fruit Pies © Hostess Brands, LLC.

Tyrannus out of the body and Emil Blonsky back into it. This ritual makes the newly revived Abomination go completely insane, which attracts the attention of Spider-Man and She-Hulk. After both heroes fail to stop the rampaging beast in a fight, She-Hulk drives the Abomination off by igniting him on fire (WHHAAAAA!). When Emil finally comes out of his foggy haze (since his return into the Abomination’s body) in 1991’s Marvel Super-Heroes #6–8, he goes back to his old ways and starts displaying erratic behavior, even to the point of saving a little girl from a gang of Sentinels. This is important to note because it give us some very concrete evidence about his psyche. Tyrannus never experienced any erratic behavior when he was in control of the monster, but once Emil returned to the Abomination’s body, the madness was always constant. Emil had to have some deep-rooted psychological problems that were not manifested by the gamma rays he was bombarded with. Sure, this is unexplained territory within Emil’s past, but maybe some writer will someday take it a step further (who’s the World’s Greatest Detective now, Batman, aww-yeah?). Now, in another Marvel Universe chronological “hiccup,” the events that happen in Incredible Hulk #364 (Dec. 1989) come after the Abomination’s battles against the Sentinels mentioned above. After some heroic deeds that baffled readers, Emil goes back to his villainous ways. While being used as a pawn by the evil mastermind known as the Leader, the Abomination manages to confront the Hulk (who is in his Gray incarnation and currently poisoned) at a toxic-waste plant, and just like “old times” they brawl it out. While the Abomination is clearly the stronger and more powerful of the two at this time, nothing ever seems to go right for him. During the fight, the Hulk defeats his foe by throwing him into a vat of toxic waste that partially dissolves and disfigures his face and body. He now looks more grotesque and monstrous than ever before, it was truly another humiliating defeat at the hands of the Hulk (BANG!!! No wonder there is so much hate).

“I like to write broken characters.” – Peter David

CAN’T AN ABOMINATION GET AN EVEN BREAK?? As we venture further into the ’90s and beyond, things still continued to grow worse for the Abomination. He began living in the sewers below New York City. His estranged wife Nadia Blonsky wanted nothing to do with him (despite kidnapping her and turning to poetry and writing to win her back … hey, at least he’s trying to be versatile). More beatings from the Hulk didn’t help his confidence, so Emil took initiative and (temporarily) killed Bruce Banner’s wife, Betty Ross, by poisoning her with his blood. Later, Banner got even by having an affair with Nadia (gulp!).

But I digress … the Abomination would finally heal from his toxic disfigurement and regain his “handsomer,” monstrous “good looks” and continue his endless quest to humble the Hulk (although it was he who was constantly being humbled). But in the long run it all proved to be worth it, because Emil finally got his big break when he starred in the 2008 movie Incredible Hulk and got much more recognition than ever before. With more Abomination merchandise in stores for the kiddies, the villain’s mental state had to be getting better (at least a little bit). Today, I’m sure Emil and his fans have accepted his place in the Marvel Universe. Despite his constant deaths, beat-downs, and heartaches all wrapped up in a wacky career to which the like of director George Wales would’ve enjoyed, the gamma-irradiated brute has remained an enduring and popular character that just won’t go away (YA-WHOO!). Who knows, maybe one day Emil Blonsky will find his way to peace and mental serenity and be able to live a normal life (hey, we all have the ability to dream, right?). So keep your chin up, Emil, because this one’s for you, buddy (NO! NOOOOOOOOOOOOOOO!!!). JOHN “THE MEGO STRETCH HULK” CIMINO is a Silver and Bronze Age comic, cartoon, and memorabilia expert. He has helped create the Hero Envy webisode series, is the host of the Reckless Sidekick “Swass-Cast,” and has contributed to the Hero Envy comic book—check it out and his blog at heroenvy.com. John also thinks the wizard Shazam really bestowed him with the powers of Captain Marvel, but in reality he’s just an obsessed fanboy who loves to play superheroes with his daughter Bryn. Join the fun and reach him at johnstretch@live.com.

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Marvel Comics’ The Incredible Hulk of the 1980s was a transformative period for the Green Goliath with two milestone runs, the Bill Mantlo and Peter David eras. These runs explored the many facets of Bruce Banner’s fragmented psyche and subjected the Hulk to multiple physical and mental alterations. These groundbreaking stories challenged who the Hulk was and proved to be fertile ground that would inspire succeeding writers and artists.

ENTER: MANTLO Bill Mantlo had been writing for Marvel Comics since the mid-1970s, and took over as the new regular writer from Roger Stern with The Incredible Hulk #245 (Mar. 1980). The Hulk enjoyed an increased popularity because of the character’s TV series and proudly displayed “Marvel’s TV Sensation” on its covers. However, Mantlo broke from the TV show’s formula and took the book in his own direction. “Mantlo was huge with the emotional stories and lives of the characters that he cared about so deeply,” writer Greg Pak (The Incredible Hulk, 2006–2011) explains. “His Hulk work in particular was stunning in terms of the depth of his exploration of Bruce Banner and the Hulk. On an emotional level, Mantlo dug deep into those depths and looked at the Hulk and Banner in many different incarnations and found so many different ways to explore the character.” bill mantlo “Jarella” was the first word of Mantlo dialogue as the Hulk made his way across the New Mexico desert to the Gamma Base, searching for the remains of his love Jarella. Mantlo let us know from the start that his Hulk was an emotional being with a volatile anger, but also with love and compassion. The Hulk found Jarella’s body in the Gamma Base’s morgue, and through a series of flashbacks Mantlo spotlighted their love, creating emotional ties with the reader. The Hulk’s love for Jarella won over Captain Mar-Vell (Rick Jones’ sometimes partner), who stopped fighting the Hulk and helped him return to Jarella’s sub-atomic world with her body. On Jarella’s world (Incredible Hulk #247, May 1980), the Hulk battled through waves of threats to bury Jarella’s body in the sacred Valley of Life. Readers palpably felt the levels of frustration building as the Hulk had to overcome these hurdles. All he wanted to

Hulks Come in All Colors A Hulk hallmark of the 1980s was writer Peter David’s Gray Hulk, paving a path for the Red Hulk and other variations seen in more recent years. Detail from the cover of The Incredible Hulk #332 (June 1987). Art by Steve Geiger and Bob McLeod. TM & © Marvel Characters, Inc.

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Jason Shayer

do was to put Jarella to rest. His ordeal was accompanied by an underlying feeling of loss and sadness. The final obstacle was the Elder of the Universe called the Gardener. In a typical Mantlo moment, the Gardener learned a lesson in humility from the Hulk’s love and allowed the Hulk to put Jarella to rest. “Bill’s approach to the Hulk was unique in the fact that he tried to humanize ‘the beast,’” Bill’s brother, Mike Mantlo, reminds us. “Bill took the green monster far beyond his simplistic ‘HULK SMASH!’ persona, giving him human emotions and flaws (like the rest of us).” Mantlo hit the ground running thanks to Sal Buscema, with whom he had worked in the mid-1970s on Marvel Team-Up. “Here I was being taught how to write comic books by Sal Buscema, who would in essence take my overly convoluted plots and milk them down to what they should have been, which was good, solid stories,” admitted Mantlo about their early work together in an interview in Comics Feature #17 (June 1982). “And I found as I wrote with Sal, that I was tailoring my stuff to fit his style, to the point where ninety percent of the time now, I think in terms of Sal Buscema when I’m plotting a story.” Over the next year, Mantlo and Buscema took the Hulk on a whirlwind tour of the world, visiting Israel, Egypt, Afghanistan, Russia, and Japan before returning to the US. While his stories felt driven by the TV series’ “Fugitive formula,” Mantlo tackled tough social justice issues such as the conflict in the Middle East and Russia’s invasion of Afghanistan. Editor Al Milgrom, in the letters page for issue #258 (Apr. 1981), stated: “Strong statements about society and injustice were ever Marvel trademarks (…) we are committed to speaking out whenever we see the need. That doesn’t always mean that we’ll be right, or that Marveldom assembled will agree with our stance, but taking a stand never means making sure it’s fashionable first.”

The Hulk didn’t enjoy the comforts of home for long, being drafted into a motley crew of alien monsters tasked with defeating the cosmic threat known as the Galaxy Master (Incredible Hulk #269, Mar. 1982). In the next issue, the Hulk found himself on Halfworld, where he met Rocket Raccoon and helped him on his ongoing quest to keep the Gideon’s Bible out of the paws of the evil mole known as Judson Jakes.

Banner Smash! (left) Hulk #245 (Mar. 1980) cover by editor Al Milgrom. (right) Page 19 from Incredible Hulk #268 (Feb. 1982), penciled and inked by Sal Buscema. Bruce Banner seizes control of a situation where he sees an opportunity to free himself of the Hulk! From the collection of Joe Hollon.

AMNESTY In David Yurkovich’s book, Mantlo - A Life In Comics (2007), Mantlo revealed how he struggled early on: “I did retreads of old Hulk stories to try and find a new direction, and just kept doing more and more repetition of what had already happened. Then Al Milgrom said, ‘Well, don’t accept this. If you want to make changes, make them. Take some risks.’ That’s when we decided to give Hulk Bruce Banner’s intelligence. From that point on I felt as if I had finally had a direction and control over the character. So I guess I took a year and half or maybe two years to get to the point. I said I was going to write what I wanted to write. I just took off. I was having fun.” After a series of events that had overdosed him with gamma rays, Banner discovered in issue #272 (June 1982) Hulk in the Bronze Age Issue

TM & © Marvel Characters, Inc.

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Train of Thought (left) From the collection of Joe Hollon: This Sal Buscema head sketch is numbered “ZZ” because it was drawn inside of the special edition of Jim Amash’s book Sal Buscema: Comics’ Fast & Furious Artist. (right) An original art page from Hulk #274 (Aug. 1982) showing a change in Ol’ Greenskin’s demeanor. Bill Mantlo script, with Joltin’ Joe Sinnott inking Sal Buscema. TM & © Marvel Characters, Inc.

that he retained his intelligence when he transformed into even worse than the Hulk might have. So I want to the Hulk. But there was an edge to this intelligent Hulk, play with that and see where it goes.” particularly when he was angry or hurt, that reminded Banner’s control was tested when he reached the us that his savagery was still close to the surface. US border, where a National Guard unit was waiting Banner learned an important lesson in Incredible for him. But the Hulk didn’t engage the military force— Hulk #274 (Aug. 1982) that echoed the mantra he simply walked through their barrage and of another Marvel hero, Spider-Man: “with made his way south to the desert that great power comes great responsibility.” birthed him. This scene was dramatic The Hulk’s might was an easy and often on many levels, showing not only convenient weapon to wield, but it Banner’s resolve to get home, but could have devastating consequences. also his control over his savage side Banner struggled with the delicate and not his succumbing to the lure balance that allowed him to control of using the Hulk’s strength. the Hulk and even then, when in “There is a brand-new Hulk … a control, he had to adapt to using Hulk for the Eighties and his name is— the Hulk’s considerable strength, or BRUCE BANNER! The monster with the in some cases knowing when not to mind of a man … but is he a monster? apply it. Mantlo explained in Comics That’s the question this and future Feature #17: “I got tired of a monoissues will attempt to explore,” wrote sal buscema syllabic Hulk. I think Len [Wein] took Al Milgrom in Hulk #274’s “Greenthe ‘child-Hulk’ as far as it could go. Skin’s Grab-Bag” lettercol. Also with Roger [Stern] tried to do the psycho-analytic Hulk, but this issue, veteran inker Joe Sinnott joined the creative the Hulk was still the Hulk. He just lay there and people team as Sal Buscema was juggling the penciling duties did things around him. This Hulk is going to think— on both The Incredible Hulk and ROM. Sinnott’s inking he’s going to become more of a danger because he added a solid, clean finish to Buscema’s penciled art. can think. There’s one story, which I just finished Banner returned home to the Gamma Base in New plotting, where Banner’s mind is in charge the entire Mexico in Incredible Hulk #275 (Sept. 1982) and was time, and he realizes that it doesn’t matter—once reunited with Betty Ross and Rick Jones, who were you’re the Hulk, you’re always the Hulk. He screws up shocked and surprised by the Hulk’s newfound

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intelligence. In issue #276 (Oct. 1982), Betty was less than thrilled with Banner’s new stature and enjoyment of being the Hulk: “Bruce, the man I loved didn’t ever want to use the power of the Hulk—he wanted to be rid of it!” Mantlo leveraged this emotional vulnerability to add a sense of tragedy to Bruce’s sudden and welcomed change. Mantlo mimicked life in that approach; there might be a silver lining when something bad happens, but the reverse was often true. Incredible Hulk #278 (Dec. 1982), entitled “Amnesty!,” featured a dramatic change neatly summarized by a caption on the splash page: “Continuing the chronicles of the intelligent Hulk!” With Banner’s mind in full control of the Hulk, an assembly of Marvel heroes made their way to the White House, where Matt Murdock dramatically read out a petition asking the president to pardon the Hulk. The Hulk was granted amnesty in Incredible Hulk #279 (Jan. 1983). “My friends, my fellow super-powered beings, and all the rest of you, the normal people everywhere,” the Hulk said, addressing the crowd that had gathered for this occasion. “I-I’ve fought some of you, terrified some of you… But I swear to you that, from this moment on, the new Hulk will atone for all the harm the old Hulk caused in the past!” In his honor, an adamantium statue of the Hulk, carved by Alicia Masters with a vibranium blade, was unveiled. This statue served as a symbolic ideal of what the Hulk could be and would be used several times to play on the tragedy of a savage and monstrous Hulk. There was also a great scene where letters of support for the Hulk poured in, much like the climax of Miracle on 34th Street, that featured letters from Bill Mantlo’s daughter and editor Al Milgrom’s daughter. The Hulk’s joyous mood was muted, though, when he saw Betty in the crowd and saw in her face that he had truly lost her. The Leader returned in Incredible Hulk #280 (Feb. 1983), where he kidnapped Banner’s supporting cast. When confronted, the Leader revealed his mad scheme to seize control of the world, but recognizing the Hulk’s new state, he wanted the Hulk to join him. The Hulk turned down the Leader’s offer, but was thoroughly defeated by the Leader and his minions despite his newfound intelligence. She-Hulk dropped in for a visit in Incredible Hulk #283 (May 1983) to encourage a humbled Banner. In their discussion, Banner was relieved of his emotional guilt over her transformation, as Jennifer Walters told him that she enjoyed being the She-Hulk. Mantlo contrasted the Hulk cousins: She-Hulk, always having control and being confident, whereas Banner had just gained control of the Hulk and was fearful of the dark side of that power. She-Hulk reminded him that he was not just a monster but could be a force for good, and that he had more than enough friends that could help him. Over the next couple of issues, the Hulk rallied the Avengers to foil the Leader’s plan. The Avengers were impressed with Hulk’s performance and they offered him a membership. But in Incredible Hulk #285 (July 1983) Banner turned them down, deciding to dedicate himself to scientific research. He had no interest in being a hero and wanted to resume the life he had before becoming burdened with the curse of the Hulk. Banner worked out of the new observatory research center called Northwind, where he eagerly continued his gamma research. He also created a hovering robot sphere that he dubbed the Recordasphere to track his scientific progress. This new direction emphasized Banner’s happiness he felt at simply resuming his scientific career and freeing himself from the nightmarish existence of the savage Hulk. However, this change seemed too good to be true, and you couldn’t help but wonder when his savage half would return to shatter the peace he had finally obtained. In Incredible Hulk #287 (Sept. 1983), Dr. Katherine Waynesboro walked into Banner’s life and joined him as a research assistant. However, Kate was an undercover S.H.I.E.L.D. operative tasked with monitoring Banner and the Hulk. Their relationship blossomed and took a romantic turn. Kate was a perfect fit, matching Banner intellectually and going into their relationship aware the dangers of his alter ego. MODOK returned in issue #288 (Oct. 1983), and allied with Gen. Thunderbolt Ross, they dispatched the Abomination to destroy the Hulk.

You Like Me … You Really Like Me! The Forgiven Hulk, as seen on (top) Al Milgrom’s cover to Incredible Hulk #278 (Dec. 1982) and (bottom) Greg LaRocque’s cover to #279. TM & © Marvel Characters, Inc.

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Mantlo’s take on the Abomination was worth noting as he made him into more of a victim than a villain. The Abomination was treated cruelly in this storyline; haunted by the severe beatings he had received from the Hulk in the past, he didn’t want to fight the Hulk again. The Abomination was truly afraid of facing the Hulk, and you really felt for him as he was mentally forced by MODOK to attack. However, with issue #289 (Nov. 1983), Banner’s new reality came crashing down as the Abomination attacked. Kate revealed herself as a S.H.I.E.L.D. agent and the Abomination destroyed the Recordasphere. An enraged and betrayed Banner lashed out against the Abomination and almost killed him. While Banner struggled against his savage side, the Abomination kidnapped Kate. The Hulk caught up with the Abomination at an A.I.M. research facility in Hulk #290 (Dec. 1983), but watched helplessly as Kate was transformed into MODAM. But MODAM ultimately rejected MODOK and the transformation was reversed. Banner realized the depth of his love for Kate, and Mantlo would harvest those feelings in Banner’s tragic fall over the next year. The Incredible Hulk #291 (Jan. 1984) was an offbeat tale told under the premise of the event called “Assistant Editor’s Month.” The story had a desperate Bruce Banner walk into the offices of Marvel Comics and ask editor Ann Nocenti to see “Bill and Sal.” Banner struggled over what to do about Ross’ recent treachery. He blamed himself for Ross’ maniacal pursuit of the Hulk, believing that had he never become the Hulk, Ross would not have had that outlet. Mantlo then flipped the story to the point of view of Gen. Ross, who was weighing his traitorous actions and looking back at his

military career. Examining his motives, Ross realized that his blind hatred for the Hulk caused him to disobey the presidential order that had pardoned the Hulk. He decided against taking his own life, feeling that enduring his disgrace would be more honorable. Mantlo used this story to give readers a deeper understanding into Ross’ motives. This different perspective clashed against the usual stereotypical perception of Ross as the leader of a relentless military force. Interestingly, Mantlo wouldn’t really write more of Ross during his run, but it’s not hard to see the seeds of the character he sowed were picked up in the recent Red Hulk incarnation. Art-wise, this issue featured the inking debut of Gerry Talaoc, who had the big shoes of Joe Sinnott to fill. Talaoc came over from DC Comics, where he had drawn some of its war titles, like Star Spangled War Stories (starring the Unknown Soldier) and Weird War Tales. His inking added a frightening depth and mood to the physical emergence of the savage Hulk. “Joe Sinnott and Gerry Talaoc are two consummate professionals,” Sal Buscema recalls. “And both did a beautiful job on my pencils.”

NIGHTMARE In the aftermath of the MODOK’s defeat, Kate resigned from S.H.I.E.L.D. in issue #292 (Feb 1984), choosing a relationship with Banner over the international spy organization. This issue also kicked off a nightmare sequence where Banner feared the savage Hulk still lurked in his subconscious, trying to free itself and destroy his new life. The series’ corner box on its covers was changed with this issue to feature the Hulk in his lab coat, the first time since Incredible Hulk #196 (Feb. 1976). As the issues moved toward #300, the Hulk in the logo box regressed monthly into more and more savagery, matching Banner’s mental descent. In Incredible Hulk #293 (Mar 1984), Banner continued to be stalked by a shadowy Hulk figure, but the thrust of this issue was how the Hulk’s past haunted him. After an assassination attempt, Banner confronted the would-be assassin and learned that he had lost everything when the Hulk destroyed his hometown. The man lost his job and family and decided that with nothing to lose, he’d try to kill Banner. Over the course of a few weeks, a humbled Bruce Banner used his intellect and might to rebuild the shattered town. But even with this effort of good will, Banner was left wondering if he could ever make up for the damage the Hulk had caused over the years. The Hulk returned from the Secret Wars crossover in Incredible Hulk #295 (May 1984) nursing a broken leg that left him angry and volatile. “It’s as if your worst nightmares of the past few weeks—of reverting to the savagery of becoming a monstrous Hulk again—were coming true,” Kate said, observing his behavior. Banner’s nightmares were now haunting him in daydreams. Mantlo used Kate as a sympathetic lens on Banner’s regression. Kate could do nothing as the rage took control and transformed her lover into a savage monster. The Hulk plowed through police forces and S.H.I.E.L.D. agents in Incredible Hulk #299 (Sept. 1984) on his way to New York City, urged on by the manipulations of dimensional being known as Nightmare. There, Kate made a desperate attempt to reach the man within the monster: “Look into my eyes! You can see my love for you still burning there if you’ll only try to see with your eyes instead of the Hulk’s!” The raging Hulk tossed her aside and continued on. Before reaching the Sanctum Sanctorum of Dr. Strange, the Hulk tore through Central Park and faced his adamantium statue. The

Welcome to My Nightmare Original Kevin Nowlan cover art to Hulk #298 (Aug. 1984), courtesy of Heritage. Inside the ish was a Dr. Strange cameo. TM & © Marvel Characters, Inc.

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statue enraged him and the Hulk savagely attacked it as a final testament to his degradation. He was unable to destroy the statue, and that only made him angrier. Dr. Strange saw through the Hulk’s attack and confronted Nightmare directly. He awakened the fragment of Banner’s persona trapped within the Hulk by Nightmare. Banner vented his anger over losing his long-sought-after happiness and gave in completely to the Hulk to defeat Nightmare, and in the words of Dr. Strange: “Banner chose, instead to die with dignity, allowing himself to be subsumed within the savage persona of his gamma-irradiated alter ego one final, irrevocable time.” Fortunately, though, nothing is final or irrevocable in comic books, but it would be a springboard to a great story arc. Incredible Hulk #300 (Oct. 1984) was one of those comic books I picked up from the local convenience store and devoured the “Special Abnormally Large Size Issue!” on the walk home. The memorable double-page spread of pages 2 and 3 featured an enraged Hulk on a rooftop, crushing a billboard sign displaying “Days of Rage!” as panicked New Yorkers fled in his wake. S.H.I.E.L.D. continued its relentless assault on the Hulk, but all they did was further enrage the beast. Spider-Man and Daredevil did what they could to contain the collateral damage, while Power Man and Iron Fist took the fight directly to the Hulk. Mantlo used these street-level heroes to demonstrate the impact of the Hulk’s rampage. They weren’t in the Hulk’s weight class, but they gave the Avengers time to assemble and join the fight. Meanwhile, Dr. Strange searched the alien dimensions for a new home for the Hulk. Thor was the only Avenger left standing, and he engaged the Hulk in a classic one-on-one battle. Dr. Strange finally completed his search and banished the Hulk, sending him through a dimensional portal.

In issue #305 (Mar. 1985), the Hulk made a new ally, the Puffball Collective, which was literally a collection of minds in the form of small puffballs. They would prove instrumental in the Hulk’s development, for the good and the bad. Hulk agreed to help the Puffball Collective return home in issue #308 (June 1985), but discovered the Puffball Collective was a malignant force. They were intent on wielding dark magic to take over other worlds with hordes of N’Garai demons (which were previously seen in Uncanny X-Men #143, Mar. 1981). The Puffball Collective’s betrayal stung the Hulk, and he learned another sad life lesson. However, this emotional realization awoke more of his intellect. Realizing that engaging the N’Garai directly was suicidal, the Hulk triggered his fail-safe spell to return to the Crossroads and then sealed the Puffball Collective and N’Garai within that dimension. The Incredible Hulk #309 (July 1985) marked Sal Buscema’s last issue as penciler, ending his historic

Hulk’s Weird Adventures Gerry Talaoc’s finishes added an eerier edge to Buscema’s pencils, as seen on this Joe Hollon-contributed original page from issue #304 (Feb. 1985). TM & © Marvel Characters, Inc.

AT THE CROSSROADS In Incredible Hulk #301 (Nov. 1984), the Hulk stood at a dimensional crossroads with roads leading to various alien worlds. His first reaction was one of pure violence, as he destroyed a giant tree-like signpost with a variety of alien hands pointing to those different dimensions. Mantlo started off this story arc with a clean slate, demonstrating the mindless savagery of the Hulk that existed without Banner’s influence. The Hulk spent over a year at the Crossroads, and through humbling and dramatic encounters in alien dimensions, Mantlo progressively restored the humanity to our favorite gamma-spawned monster. This process was almost a mirror image of the previous Nightmare story arc. These stories were on the surface formulaic, borrowing from The Twilight Zone TV series and archetypal sci-fi or fantasy themes, but they put the Hulk through an emotional barrage that teased out his human side. In many cases, the Hulk was powerless to change the course of those encounters and underwent an emotional development as he tried to absorb what had occurred. Mantlo cleverly used a fail-safe spell as a means to jaunt the Hulk between the dimensions he visited and the Crossroads. Dr. Strange placed this spell on the Hulk before exiling him, allowing the Hulk to return to the Crossroads should he become disenchanted with a particular dimension.

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Mignola’s Mystery Inker In his pre-Hellboy days, Mike Mignola penciled some Hulk covers, like this one— for issue #304, courtesy of Heritage Comics Auctions (www.ha.com)— before taking over the interiors for a brief stint. His inker on this cover was “[Larry] Mundelo”— actually Kevin Nowlan. Note editor-in-chief Jim Shooter’s signature of approval. TM & © Marvel Characters, Inc.

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Monumental Milestones (left) A whole lotta heroes barge in on the “Special Abnormally Large Size Issue,” Hulk #300 (Oct. 1984). Bret Blevins cover art. (right) Mignola’s cover for Bill Mantlo’s final Hulk issue, #313 (Nov. 1985). TM & © Marvel Characters, Inc.

ten-year run that had started back in 1975. Buscema would go on to he was so important a writer. He was endlessly creative and always draw the Balder the Brave and the Eternals limited series later that year committed to exploring the emotional core of Banner and the Hulk.” and then take over as penciler on The Mighty Thor in 1986, and then Issue #312 was easily the densest of all of Mantlo’s work. In a mere 22 The Spectacular Spider-Man in 1988. Looking back on his acclaimed run pages, Mantlo employed flashbacks to define Bruce’s psychological origin on The Incredible Hulk, Sal Buscema notes, “It’s very gratifying, to say and retell the Hulk’s origin. Mantlo also tied in the Triad, weaving them the least. Probably one of the most enjoyable experiences of my career. into the Bruce’s life story as essential elements of his being. Glow The fact that the Hulk is my all-time favorite character might represented his reason and love, Guardian was his self-preservation, be a contributing factor. I never tired of the character. and Goblin was the personification of Bruce’s repressed rage. Every story was a new challenge. In all the comic-book Brian Banner was jealous of Bruce from birth since he universe, is there any character even remotely similar resented his wife’s affections for Bruce. Brian refused to to the Hulk? Not that I know of. That power in the hold Bruce and used his career as a shield against any mind of a six-year-old presents endless possibilities.” kind of emotional investment. Bruce also demonstrated This issue also marked a milestone in the Hulk’s an early genius that intimidated and scared his father, development as three subconscious guardians who believed his son to be an unnatural mutation. known as the Triad (the Goblin, Guardian, and Glow) Mantlo then applied another emotion level, mapping were awakened by the emotional manipulations of Gen. Ross as the abusive figure replacing his father, the Puffball Collective. Their emergence forecasted while Betty Ross played the mother figure. the return of Bruce Banner, who re-entered the Bruce had been a victim for so long that when he Hulk’s life in issue #310 (Aug. 1985). suddenly gained the ability to release that pent-up Mike Mignola took over as the regular penciler rage, the result was explosive: “The awesome forces greg pak with issue #311 (Sept. 1985), but his tenure only of gamma radiation were released that day! But so Photo by Luigi Novi. lasted three issues. Mignola had drawn several of was the long pent-up rage locked inside a lovelorn the recent covers and had enjoyed success with Mantlo earlier that child doomed from childhood to become that which his father had year on the Rocket Raccoon limited series. always feared he would become! More than a man! A Monster!” Mantlo bid farewell to the Green Goliath in The Incredible Hulk #313 MONSTER (Nov. 1985). Trapped at the Crossroads, Banner tried to end the torment Mantlo’s Incredible Hulk #312 (Oct. 1985), entitled “Monster,” was that was his life, but his transformation into the Hulk saved him. Then an the most significant and profound issue of the writer’s five-year run. energy-line attached itself to the Hulk and dragged him across various He established Bruce’s psychological abuse by his father, Brian dimensions, revisiting some that he had recently encountered. Unable to Banner, and that it served as the catalyst of the Hulk’s rage. While the free himself, the Hulk discovered that Alpha Flight was responsible for the Hulk was a being of incalculable strength, the wrath he expressed energy-line as Walter (Sasquatch) Langowski’s body had been destroyed belonged to Bruce, who had been powerless before his abusive father and they had trolled dimensions in search of a body that he could use. and had repressed those emotions. Banner was willing to let go and to finally free himself of the Hulk, “Mantlo’s origin of Bruce Banner had a huge influence on me but Langowski couldn’t accept Banner’s sacrifice. Instead, Langowski when I was writing the Hulk/Scar storyline highlighting their allowed his spirit to dissipate into the void of the Crossroads. The irony father/son relationship,” says Greg Pak. “I can’t underestimate the of that selfless act was that had Langowski taken over the Hulk, he influence he had on me. In my last issue of Incredible Hulk, #635 wouldn’t have the same emotional baggage as Banner, and (Aug. 2011), I dedicated my whole run to Bill Mantlo because I think Langowski would have had full control of the Hulk. Hulk in the Bronze Age Issue

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Green Controversy Barry Windsor-Smith feels the concept of Banner’s abusive father stemmed from an unrealized Hulk proposal he offered to Marvel Comics, as detailed in Comic Book Artist Vol. 2, #1. Available now as a digital edition at www.twomorrows.com

Byrne Smash! Two Hulk sketches by John Byrne, drawn before and after the writer/artist’s stint on The Incredible Hulk: (left) 1978 character studies, courtesy of Heritage. (right) From the collection of Jim Hollon, a 2009 smashing illo. TM & © Marvel Characters, Inc.

“I truly did see a theme in Bill’s Hulk run,” explains Mike Mantlo, “that being one of abandonment and abuse by those that Bruce Banner relied on for his growth and development. Bill introduced readers to the abuse Bruce Banner suffered at the hands of his father and the heart-wrenching loss of his true love, Jarella. Bill also introduced a sense of values and political involvements to the Hulk’s world view.”

objections. Fearing for the Hulk’s safety, Doc Samson freed him, but didn’t realize that without Banner’s influence, the Hulk existed only to rampage. Issue #316 (Feb. 1986) featured one of the most dramatic Hulk battles ever as the Avengers’ big guns confronted the rampaging monster. Namor, Hercules, Iron Man, and Wonder Man pounded away at the Hulk, who seemed all but unstoppable. The guilt-ridden Samson interrupted the battle, BYRNED pleading that he could deal with the Hulk With issue #314 (Dec. 1985), John Byrne himself. In the wake of the collateral took over the creative reins of The damage of their battle, the Avengers Incredible Hulk in the industry’s first weren’t in any position to disagree. creative-team crossover: Bill Mantlo Byrne brought in a new Hulkbuster and Mike Mignola moved over to supporting cast with issue #317 Alpha Flight, previously Byrne’s (Mar. 1986) to join Banner, who was stomping grounds, with issue #29. still recovering from the traumatic Byrne approached the title with separation, as he took on his new a “Back to Basics” formula he had leadership role. The Hulk slipped into found so successful with Fantastic the background as Byrne focused on Four. “I’m turning the clock back,” john byrne Banner, who was adjusting to his new Byrne told Jim Salicrup in Comics life without the Hulk. Feature #25 (1985). “My feeling is Betty moved into the spotlight that Lee and Kirby really knew what they were doing. in issue #319 (May 1986) as she and Bruce were So I’m distilling it down to sort of a definitive Hulk, finally married. Byrne had been weaving Betty into which they probably would have done if they’d had the storyline and she finally shone in this issue as the another few issues. We’re trying to get back to that strong, willful character that Peter David would later primal Bruce Banner becomes the Hulk; sometimes make extensive use of. Byrne discussed his future he’s in control, sometimes he’s not. The schism is left plans for Betty, which unfortunately would never be brain/right brain, rage versus reason.“ realized, in Comics Interview #25 (1985): “…by about In Incredible Hulk #315 (Jan. 1986), Dr. Leonard my eighth issue, we will be back in a situation where Samson physically split Bruce Banner from the Hulk. he will be the creature of the night and he will be When S.H.I.E.L.D. learned what had happened, they locking himself in the little room under the lake and stepped in and took over the project despite Samson’s

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Big Splits John Byrne’s brief but bombastic Incredible Hulk stint included (top) separating Banner from the Hulk in #315 (Jan. 1986) and (bottom) marrying Bruce and Betty in #319. TM & © Marvel Characters, Inc.

pounding on the wall. And the biggest dramatic change that I’m making in the whole context of the thing is that since Rick Jones has more-or-less been taken care of, we’re bringing in a new Rick Jones position, which will be filled by Betty Ross.” Incredible Hulk #319 was Byrne’s last issue. In an interview with Comic Book Resources (Aug. 2000), Byrne explained his point of view: “I took on the Hulk after a discussion with [editor-in-chief Jim] Shooter, in which I mentioned some of the things I would like to do with that character, given the chance. He told me to do whatever was necessary to get on the book, he liked my ideas so much. I did, and once installed he immediately changed his mind—‘You can’t do this!’ Six issues was as much as I could take.” From Shooter’s point-of-view, as discussed on his blog (http://www.jimshooter.com/2011/05/another-question-another-answer.html), he blamed an editorial disconnect for this misunderstanding that had escaladed to this point of no return. On what might have happened had he remained on the title, Byrne hinted at unpublished storylines in Marvel Age #31 (Oct. 1985): “Banner will be tossing all sorts of new weapons against the Hulk because it will now be Banner’s job to try and destroy the Hulk. (…) The first old villain that I plan to bring back is the Metal Master. The last dangling plot thread of Bill Mantlo’s that I want to follow up on is that adamantium statue of the Hulk sitting in a warehouse somewhere in New York. I’m going to have the Metal Master activate it. So the Hulk will have to fight an adamantium version of himself.” While Byrne’s run was only eight issues (Incredible Hulk #314–319, Hulk Annual #14, and Marvel Fanfare #29), he succeed in returning the Hulk to his roots and took the book in a different direction. Physically splitting up the Hulk and Bruce Banner had shifted the typical Banner/Hulk internal conflict to a physical one. It would have been interesting to see what the genius of Bruce Banner would have devised to take on the Hulk.

SHADES OF GRAY With Incredible Hulk #320 (June 1986), there was a sudden change in the creative team, with former editor Al Milgrom taking over the writing and art. There was no explanation of what had transpired in issue #320’s letters page, but we did learn that editor Dennis O’Neil had been replaced by Bob Harras. Al Milgrom did what he could as he was also drawing West Coast Avengers, but his story and art didn’t have Byrne’s dynamic energy. It wasn’t hard to see the direction that Milgrom took, which was to undo what Byrne had done. Dell Barras’ inking complemented Milgrom’s pencils and added a smooth finish to the final product. I collected The Incredible Hulk at the time and recall thinking that this was a fill-in issue, but when the ongoing storyline was altered, I knew Byrne wasn’t coming back. I felt cheated by the lack of information, but looking back, I understand that a level of professionalism had to be maintained. I can’t help but wonder how this sudden creative team change would have been covered by today’s comic-book news media? It didn’t take Milgrom long to physically restore the Hulk and Banner together. The rampaging Hulk was defeated by the combined might of the East and West Coast Avengers in issue #322 (Aug. 1986). A dying Banner and the Hulk were reunited in issue #323 (Sept. 1986) and Milgrom shook things up by not only adding the Gray Hulk into the mix, but by having Rick Jones become a new version of the Green Hulk (issue #324, Oct. 1986).

ENTER: PETER DAVID “I had no interest in writing the series at all,” Peter David admitted in his “But I Digress…” column (Comics Buyer’s Guide #1272, Apr. 1998). “I had no idea what I’d do with it. The only thing that made it remotely intriguing to me was the notion that the Hulk had been turned gray and crafty by Al Milgrom, and that I could continue to use that incarnation of the character if I so desired. I figured I would last on the book for maybe six months.” Hulk in the Bronze Age Issue

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Gamma-Spawned Todd McFarlane punched his way into the upper echelon of fan favorites while illustrating writer Peter David’s Incredible Hulk. Here’re two examples of why Marvelites thought Todd was a god: (left) the splash to issue #333 (July 1987), featuring inks by Pablo Marcos (and a couple of missing creator-credits paste-ups), and (below) the cover to the Wolverine ish, Incredible Hulk #340 (Feb. 1988). Both are signed by Mr. McFarlane and are courtesy of Heritage Auctions. The photo of Todd, from 2011, is courtesy of Luigi Novi. TM & © Marvel Characters, Inc.

todd mcfarlane

TM & © Marvel Characters, Inc.

Peter David would go on to write The Incredible Hulk for over a decade, and his run still stands as the longest running for a Hulk writer. David’s efforts added stability to the series, and he kept up an impressive level of quality, assisted by a string of talented up-and-coming artists like Todd McFarlane, Dale Keown, and Gary Frank. [Editor’s note: For an exclusive Hulk interview with Peter David, see BACK ISSUE #18, our “Big, Green Issue.”] David’s first issue on the title was a fill-in for #328 (Feb. 1987) before he took over the full-time writing job with #331 (May 1987). Todd McFarlane, after a stint on Epic Comics’ Coyote, joined as the new regular penciler with issue #330 (Apr. 1987). McFarlane’s early work was rough, but you could see the progression of his art as he worked through his year-and-a-half run. His art also varied dramatically because the series of inkers used as they tried to find a good match, which ended up being Jim Sanders. McFarlane’s art had a lot of energy and, despite its shortcomings, generated a lot of attention for the title. After 16 issues, McFarlane left the book and took over the art chores on The Amazing Spider-Man.

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While Byrne sowed the seeds for the Gray Hulk and Milgrom brought back the Gray Hulk, David was responsible for fully bringing him to life. “He was also perfectly articulate, as opposed to the ‘Hulk smash!’ version that had been his persona for decades,” Peter David revealed in a guest essay for Entertainment Weekly (http://shelf-life.ew.com/2013/01/10/peter-davidthe-incredible-hulk/). “This decision was greeted with mixed reactions from the fans, most of whom wanted him restored to his more primitive incarnation. I ignored them and did what I wanted, sure that when someone else took over the book within a few months, they would go off and do whatever they wanted.”

In Incredible Hulk #331 (May 1987), Banner struggled with his encounter escalated and they defeated the Gray Hulk. S.H.I.E.L.D. new marital obligations as well as leading the Hulkbusters against then took the Hulk into custody, but X-Factor stayed around long Rick Jones, who was rampaging as the Green Hulk. Banner subjected enough to discover that the Hulk’s wild accusations about S.H.I.E.L.D. himself to gamma radiation, but instead of turning into the familiar testing new gamma bombs were true. Green Goliath with his intellect as he had hoped, the Gray Hulk Banner escaped and, together with Rick Jones and Clay emerged with a stronger hold, or as he exclaimed: “The real Hulk, Quartermain, they set out to track down these new gamma bombs. you crummy weakling! And this time, I’m here ta stay!” Banner realized Over the next half-year, the book took on the feel of the 1970s TV show, too late that he had been subconsciously manipulated by the Gray with our protagonists traveling across the US and encountering various Hulk into granting him a permanent dual existence. foes. David changed his storytelling approach to accommodate Bob Harras, in the editorial page of issue #335 (Sept. 1985), McFarlane’s action-oriented style and set up a series of headprovided more insight into the new Hulk: “[Hulk] is a to-head battles with physical opponents, like Wolverine creature of passion. Some of it good, most of it bad. in #340, Man-Bull in #341, and Half-Life in #342 The only thing the Hulk wants more than anything (Feb., Mar., and Apr. 1988, respectively). else is to live. He will do anything to free himself In Incredible Hulk #344 (June 1988), Betty and from the non-existence of Banner’s dominance. Bruce had a heart-to-heart. But Betty soon realized And the crafty devil has found ways to do so, such that it wasn’t Bruce she needed to talk to … so she as suggesting subliminally to Bruce that he expose waited until the sun set to confront the Gray Hulk. himself to the gamma device. He clouded Bruce’s Betty was caught in the middle; she couldn’t live reasoning so that Banner could see no other option without Banner, and neither could the Gray Hulk. other than releasing the Hulk. Clearly, we’re dealing She reached out to the Gray Hulk, demanding that with an entirely new Hulk.” he release his hold on Bruce’s passions, which he David brought back a familiar foe in Incredible had kept repressed. Hulk #332 (June 1987). Samuel Sterns, the Leader’s Betty also revealed that she was pregnant. She peter david non-gamma-irradiated alter ego, conspired with the would eventually have a miscarriage in Incredible Photo by Luigi Novi. nocturnal Gray Hulk to keep Banner captive during Hulk #360 (Oct. 1989), but that issue wasn’t written the day. They then tricked the Rick Jones version of the Hulk and drained by David. “The reason I refused to do it was because Betty was really his gamma radiation to restore the Leader’s gamma-irradiated form. losing her child to editorial fiat,” David explained in his “But I Digress…” Doc Samson made this poignant observation on the Gray Hulk: column (Comics Buyer’s Guide #1283, June 19, 1998). “It was decided “It’s as if the Hulk’s evil and rage are contagious. The Hulk is the by the powers-that-be that Betty and Bruce were not to become personification of everything that we deny we have inside ourselves. parents because that would make the characters seem ‘too old’ to Struggling with him means confronting the dark side in all of us.” the younger readers. My run on the book almost ended with that In Incredible Hulk #333 (July 1987), David explains that the Gray issue; I nearly walked over it. But there were so many stories I still Hulk’s nocturnal nature was due to his reaction to solar radiation and wanted to tell that ultimately I stayed with it, even though I fumed that the phases of the Moon affected the Hulk’s personality. When the about it for quite a while.” Moon was new, the Hulk’s persona was stronger, but got weaker as While these emotional fireworks were going off between Betty and the Moon became brighter. the Gray Hulk, the Leader put his plan into motion and had his agents, In a two-part story in issues #336–337 (Oct.–Nov. 1987), X-Factor two newly empowered antagonists formerly of Banner’s Hulkbusters, dropped in to investigate a report that Banner was a mutant. Their steal a new gamma bomb. The Leader’s plot came to fruition in

David Smash! Two Peter David doozies: (left) The big guy shakes up a small town in Incredible Hulk #333 (July 1987). Cover by Steve Geiger and Bob McLeod. (right) By the same cover artists, issue #336, featuring X-Factor. TM & © Marvel Characters, Inc.

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Incredible Hulk #345 (July 1988) when he informed Banner that he had planted the stolen gamma bomb in a small town called Middletown and planned to detonate it. Hulk fought through his former Hulkbuster teammates to reach the bomb, but just when you thought the Hulk had succeeded, we learned how diabolical the Leader was. He prematurely detonated the gamma bomb and caught the Hulk at ground zero, laying waste to the Middletown and its 5,000 inhabitants.

Breaking Bad A powerful pair of covers from artist Jeff Purves, for (left) Incredible Hulk #347 (Sept. 1988) and (right) issue #354 (Apr. 1989). Note the change in corner box images, from the savage Gray Hulk to Mr. Fixit. TM & © Marvel Characters, Inc.

VIVA LAS VEGAS Throughout David’s 12-year run, he was always willing to shift the title book in new directions to keep the stories from getting stale. One reason he was so successful with that method was that he leveraged his access to Hulk’s sales numbers (having once served as Marvel’s direct sales manager) and could forecast when it was time for a change. David also incorporated storytelling shifts to accommodate new artists as they came aboard and molded their collaborations into distinct storylines. For example, David neatly wrapped up the Gamma Bomb saga with Todd McFarlane before moving to Las Vegas with Jeff Purves, who was then replaced at the end of the Mr. Fixit run with Dale Keown. Three months after the gamma bomb had destroyed Middletown, the Gray Hulk had set himself up in Las Vegas as a mob enforcer operating out of a casino (Incredible Hulk #347, Sept. 1988). David

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cleverly flipped the stereotypical Hulk concept and had the Gray Hulk, who hadn’t changed back to Banner since the gamma bomb detonation, enjoy a “normal” existence, which even included a girlfriend. David played with the Jekyll-and-Hyde theme, which was an inspiration for creator Stan Lee, and twisted it so that Gray Hulk feared Banner and his return. As a reader, I always had a difficult time with the Gray Hulk. Even re-reading the run, I found it tough to like him—he was fiendishly clever, selfish, and mean-spirited. However, his story was still a compelling read and I needed to know what was going to happen next. While the Gray Hulk wasn’t a superhero, the character was still fascinating as he was an early anti-hero, foreshadowing the popularity of darker heroes in the 1990s. This incarnation wasn’t the Hulk that you would cheer for, but rather the one you watched, enthralled because you genuinely didn’t know what he was going to do next. “There’s a fundamental human truth at the core of all good Hulk stories that’s so compelling,” Greg Pak adds. “We may not love the Gray Hulk, but we’re drawn to him. Characters that misbehave are much more interesting. People pushed to extremes and react in extreme ways and let you explore and imagine those extremes in a safe way, burning off the steam in your own life. We recognize something really human in him that we maybe see in ourselves, maybe a way to avoid those big mistakes.”

If we view the Green Hulk as the child-like savage monster, then Gray Hulk was the teenager, rebelling against authority. While the Gray Hulk came first, he was clearly more clever and in control. The Gray Hulk was the perfect symbol for rebellion, and in his case he had the power to drive off any authority figure. In fact, you could argue that the Gray Hulk was much more of a monster than the Green Hulk ever was. Artist Todd McFarlane had captured a dark and menacing Gray Hulk, which made him out to be far more of a monster than the green-skinned incarnation. New artist Jeff Purves worked with that, but added a layer of style, dressing the Gray Hulk in pinstripe suits. That outer layer displayed his thin layer of civility and it didn’t take a lot for that cruelty to break through to the surface. The Incredible Hulk #351 (Jan. 1989) revealed that the Gray Hulk had survived the gamma-bomb explosion thanks to a sorcerer named Gorsham, who had teleported him to Jarella’s world before the explosion. Gorsham enlisted the Gray Hulk’s help in a civil war in exchange for a spell that would banish Banner. The people of Jarella’s world saw the Gray Hulk as the “anti-Hulk,” but they were desperate to remove the ruling tyrant called the Grand Inquisitor. After having deposed the Grand Inquisitor, the Gray Hulk saw this leadership void as an opportunity he couldn’t ignore. However, Gorsham had planned for this betrayal and sent the Gray Hulk back to Earth. Gorsham’s spell proved to be temporary as Banner physically returned in Incredible Hulk #353 (Mar. 1989). To Banner’s horror, he discovered where he was and what had happened in Middletown. The battle for control continued with issue #354 (Apr. 1989), and was highlighted by a wonderful scene where the Gray Hulk was putting up a brick wall to shut out Banner from his mental landscape. This new setup created conflict between Banner and the Gray Hulk, since the Gray Hulk was as clever as Banner was. In issue #355 (May 1989), Banner realized the precarious situation he was in: “For the first time he isn’t a rampaging monster. If I upset the applecart, he might go berserk. I’d be unleashing a deadly menace all over again.” The return of Banner and the physical complications of having Banner disrupt his life during the day eroded the Gray Hulk’s new life. All good things came to an end with issue #359 (Sept. 1989), when the Gray Hulk was fired and his Las Vegas life came crashing down. The final repercussion, brought about his cruelty and violence, was when his girlfriend Marlo left him in issue #362 (Nov. 1989). However, Marlo would return a few years later and marry Rick Jones! It was difficult not to feel sorry for the Gray Hulk, even though he was an unlikable character. Everything he prized slipped away from him, and he couldn’t comprehend that his violent and destructive nature was at the root of it all.

PASSING THE TORCH The testament of this decade’s rich exploration of the Hulk’s personas can be seen in the ripple effects that have echoed through each subsequent writer’s work on the title. “The Hulk is an endlessly rich character and writers like Bill Mantlo and Peter David really took him to the next level, and I have a huge amount of admiration for those guys,” Greg Pak tells BACK ISSUE readers. “The character is so simple on the

surface—guy gets angry and he turns into a big, green monster. But once you start to unpack that— in particular, once you attach anger to it—the character becomes so rich and you can look at him from so many different angles.” Even in Mark Waid’s current run on The Indestructible Hulk, you can clearly see that he is influenced by 1980s Hulk runs. Waid’s take on the Hulk isn’t the intelligent Hulk, but rather a hybrid model with Banner accepting his dark side and leveraging it instead of fighting against it. In a tip of the hat to Mantlo, Waid has created a new version of Banner’s hovering Recordasphere to act as his companion.

The Attitudinal Hulk The impact of Jarella is still felt in the series in Hulk #351 (Jan. 1989), as shown on this snappy original art page (courtesy of Heritage) illustrated by penciler Jeff Purves and inker Bob Wiacek.

JASON SHAYER’s addiction to comic books and his 12-year-old mindframe have caused more than a few people to raise an eyebrow. When he’s not writing or reading, he’s teaching his daughter the finer points of comicbook collecting.

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TM & © Marvel Characters, Inc.

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Green On Screen (right) An Incredible Hulk animated cel, courtesy of Heritage Comics Auctions (www.ha.com). (above) Two graphics and a gamma-blast shot, all courtesy of Andy Mangels. © 1982 Marvel Productions, Ltd.

Christopher Larochelle

“Hi! This is Stan Lee!” There’s something reassuring about anything Marvel-related that starts off with a message like that. The first episode of the Incredible Hulk cartoon begins that way, and throughout the series Stan the Man is always there to provide commentary, making his enthusiasm something of an “added spice” to one of Marvel’s earlier forays in television. Stan had every reason to be proud of 1982’s newest creation from Marvel Productions. While it might have toned down a few aspects of the original source material, the final result was a cartoon that could be enjoyed by fans of all ages. [Editor’s note: For a “Backstage Pass” history of Marvel Productions, Ltd., see BACK ISSUE #59.] The Incredible Hulk debuted a year after the starting airdate for Spider-Man and His Amazing Friends. Together the shows made a solid one-hour programming block of Marvel Productions cartoons every Saturday morning. While the show often is referred to casually as “The 1982 Hulk Cartoon,” only nine of the show’s 12 episodes were broadcast in that year. In fact, fans had to wait for almost a full year before the show’s final four episodes were broadcast in the fall of 1983. Sure, there are some curiosities in The Incredible Hulk. First off, why are the Hulk’s pants red? While it is unusual, given how purple seems to be Bruce Banner’s go-to color in the comics, the red pants make this version of the Hulk stand out among the countless visual interpretations that have come down the pike since the character’s creation in the 1960s. One delightful oddity in the Incredible Hulk cartoon is perhaps the show’s most famous. While Marvel is guilty of pulling this trick many times in the Hulk

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comics, it was never so unforgiving as it was in the cartoon: Whenever the Hulk reverts back to Bruce Banner, a transformation sequence is shown in which the muscled giant shrinks back to normal size. Along with the shrinking and fading of green skin comes the miraculous return of every item of clothing that Banner was wearing before his growth tore everything to shreds. Banner wakes up from Hulking out without a single visual cue of the stress that his body (and clothing) must have gone through. People remember the show for this, and maybe that isn’t such a bad thing. While The Incredible Hulk is certainly a well-produced show, it also displays some shortcuts that are typical of many cartoons of its time. For instance, while Banner transforms into the Hulk dozens of times throughout the series, there is only a handful of unique animations that are used to show it. Someone sitting down to watch several episodes of the series in a single night would probably also have their fill of the show’s repetitive soundtrack, which duplicates the same short musical cues over and over. One might think that a kid-friendly, Saturday morning cartoon would probably skimp out on the drama of the Hulk and Banner and instead focus on more of the “Hulk Smash!” aspect of everything. It’s nice to see that Marvel Productions lost none of the Marvel trademark for always keeping the alter ego interesting and an essential part of the appeal of the stories. The show gets a little goofy at times, even for the standards that were set by the source material comics. For instance, an entire episode is built around riffs on the idea of “What would happen to the Hulk if he shrunk down to being one-inch tall?” The cartoon never loses sight, however, of the central tragedy of Bruce Banner and his quest to rid himself of the violent persona that is locked within him. Over the course of a mere 13 episodes, Banner travels to various places around the world looking for cures, none of which ever work.

THE CHARACTERS The Incredible Hulk gives a fair amount of screen time to its supporting cast, which for the most part is made up of characters familiar to readers of the comic series. Betty Ross is never too far from the action, though she never really even comes close to discovering the secrets of Bruce Banner. Betty’s father, General Thunderbolt Ross, is a military man devoted to forever ending the menace of the Hulk along with his right-hand man Major Talbot. Rick Jones is perhaps the most important supporting character because he was there when the Hulk was born, and he alone knows the secrets that Banner keeps from everyone else. Being the only person who knows the Hulk’s true identity is never an easy thing for Rick. He struggles with whether or not to tell Betty everything he knows. Finally, a couple of characters were created specifically for the series. Rio is the proprietor of a Mexican restaurant located right outside of Gamma Base, and his daughter Rita is the girlfriend of Rick. Rio’s restaurant is a place where Bruce, Rick, and Betty can wind down and laugh a little after their latest adventures.

THE VILLAINS Despite the fact that so few episodes were produced, there is quite a bit of variety among the challenges that the Hulk faces. The series’ first episode borrows one of Spider-Man’s most famous foes in Dr. Octopus, perhaps in an attempt to show that the animated Marvel Universe, like that of the comic books, is part of the same larger tapestry. (It’s safe to say that without Spider-Man and His Amazing Friends, there would be no Incredible Hulk cartoon.) Another “shared villain” who shows up in the Hulk show is the Puppet Master, of Fantastic Four infamy. While the Hulk doesn’t have the biggest rogues’ gallery of his own, the producers did right to make sure that the Leader made an appearance in one episode. Of course, fans would probably have liked to see other Hulk-centric baddies, such as the Absorbing Man and the Abomination, appear as well. Besides these “famous names,” the show devotes the villain spotlights to mostly new creations. Dr. Proto’s destructive slime creature makes an impact without being a character at all; it doesn’t think or talk and yet it seems to put the Hulk into more peril than most of the other villains. The writers and producers of The Incredible Hulk were obviously looking for different and interesting situations to put their protagonist through. By making stories that sent the Hulk back in time or turned him into a puny micro-sized creature, the people behind the curtain aimed to show that a monster in red pants should never be dismissed as a one-trick character.

BRUCE BANNER VS. THE HULK As mentioned previously, The Incredible Hulk’s biggest strength is that, while it might have made the story of the Jade Giant slightly more kid-friendly, it never lost sight of the dramatic story of Bruce Banner and the monster that he tries to keep at bay and destroy. “We used to be so close, Bruce. What happened?” asks Betty Ross in one episode. “I can’t tell you, Betty,” Banner replies. The subject comes up time and time again in the series. Banner doesn’t dare to reveal anything to the woman he loves because it will jeopardize her safety. Only when the Hulk is no more will Banner feel like he can truly risk living a normal life. The Hulk’s persona is nailed perfectly in the cartoon. He is a wrecking ball of rage, always ready to solve a problem with his fists. And while some might feel as though the Hulk is not much of a thinker, the animated series portrays a Hulk who defies such opinions. The Hulk uses his wits to get himself out of many tight spots throughout the episodes. The Hulk is a creature who always speaks his mind, never leaving any mystery as to what he is thinking. For instance, as the Puppet Master attempts to keep control over the Hulk’s mind, the Hulk shouts that “Nobody tells Hulk what to do!” When electricity goes out in a science laboratory, Bruce Banner gets nervous and transforms. “Hulk hates the dark!” is the first announcement from the Green Goliath. Bruce Banner comes close to gaining at least some control over the Hulk in the episode entitled “Enter: She-Hulk.” Bruce notices how Hulk in the Bronze Age Issue

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THE INCREDIBLE HULK (1982 ANIMATED SERIES) EPISODE GUIDE Episode 1: “Tomb of the Unknown Hulk” (Airdate: 9/18/82) Synopsis: Dr. Octopus invades the Gamma Base as solar radiation makes it impossible for Bruce Banner to control his transformations. Episode 2: “Prisoner of the Monster” (Airdate: 9/25/82) Synopsis: After hearing a legend about an ancient man afflicted by a Hulk-like transformation curse, Banner travels to South America in search of a cure. Episode 3: “Origin of the Hulk” (Airdate: 10/2/82) Synopsis: Bruce Banner is caught in a gamma explosion and transforms into the monstrous Hulk for the first time. Episode 4: “When Monsters Meet” (Airdate: 10/9/82) Synopsis: Bruce Banner visits Paris while a modern-day Hunchback of Notre Dame seeks a cure to his own monstrosity. Episode 5: “The Cyclops Project” (Airdate: 10/16/82) Synopsis: Gen. Ross implements new defense technology that gains sentience and traps the Hulk, Rick, and Betty in a series of holograms. Episode 6: “Bruce Banner Unmasked” (Airdate: 10/23/82) Synopsis: The Puppet Master comes close to letting out all of Banner’s secrets when he takes control of the Hulk. Episode 7: “The Creature and the Cavegirl” (Airdate: 10/30/82) Synopsis: A scientist’s time-travel device goes haywire when the Hulk destroys it. Thrust back into prehistoric times, the Hulk finds a woman who is perhaps as savage as himself.

Episode 8: “It Lives! It Grows! It Destroys!” (Airdate: 11/6/82) Synopsis: A power-hungry scientist named Dr. Proto creates a being made of yellow slime that multiplies in size as it consumes matter. Episode 9: “The Incredible Shrinking Hulk” (Airdate: 11/13/82) Synopsis: An accident ruins a gamma ray experiment and reduces the Hulk to miniature size. It’s up to a tiny Bruce Banner to get things sorted out. Episode 10: “Punks on Wheels” (Airdate: 9/17/83) Synopsis: A biker gang is being used as a means to an end by one of the Hulk’s all-time greatest enemies, the Leader. Episode 11: “Enter: She-Hulk” (Airdate: 9/24/83) Synopsis: The Hulk teams up with his cousin to stop a threat from HYDRA, while Banner tries to learn how to gain more control of the monster within. Episode 12: “The Boy Who Saw Tomorrow” (Airdate: 10/1/83) Synopsis: Betty’s nephew Jonah has precognitive abilities that foreshadow the Hulk’s involvement with an attempt to sabotage an American space mission. Episode 13: “The Hulk Destroys Bruce Banner” (Airdate: 10/8/83) Synopsis: Banner tests out a new machine that is designed to move matter from one place to another. He turns into the Hulk when testing it and everyone assumes that Bruce Banner is dead.

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his superpowered cousin still retains her own psyche and intelligence when she turns into She-Hulk and hopes that he can learn how to master that kind of control for himself. He has a few moments of actually being in the “driver’s seat,” but ultimately the Hulk’s rage is simply too much to keep a lid on. It’s another disappointing setback for one of the world’s greatest scientists. One of the series’ high points comes at the end of its seventh episode, “The Creature and the Cavegirl.” Flung back millions of years into the past thanks to the malfunction of a new time-travel device, the Hulk finds his savage self quite at home among the earliest humans. Hulk discovers a woman who can be almost as fearsome as he is, and he really thinks he has found himself a companion. By the end of the episode, of course, the time-travel device is repaired and the Hulk must say his goodbyes to the cavegirl. Slipping down the face of the monster is a steady flow of tears. The Hulk doesn’t want to leave and certainly wouldn’t have chosen to … the decision rests squarely on the small shoulders of Bruce Banner. In “The Hulk Destroys Bruce Banner,” the show’s final episode, Banner gets even more desperate to end the threat of the Hulk forever. After being transported away to some unknown town, Bruce Banner walks the streets following a reversion from Hulk form. “I am the Hulk! Throw me in jail,” he says as he walks into a police station. Not surprisingly, the officers just take him for some kind of lunatic and send him on his way. In the final scene of the series, Bruce Banner returns after everyone thought him dead at the hands of the Hulk. Betty’s anger toward the Hulk intensifies as she exclaims, “I hope he never comes back!” It is at this moment that the familiar voice of Stan Lee returns, summing up everything about the tragedy of the scientist and his inner monster: “No one hopes it more than Bruce Banner … for as long as the Hulk lives, he can never tell the girl in his arms how much he loves her.” At age five, CHRISTOPHER LAROCHELLE discovered superheroes on the small screen in cartoons like Batman: The Animated Series and X-Men ... a lifelong collection was born. Take a look at his comics-related scrawlings over at http://clarocomics.blogspot.com.

Daniel DeAngelo

With the big-screen success of The Avengers, more attention has been given to the Hulk’s membership in that team. The Hulk can now be seen with the Avengers in the comics and on TV (both titled Avengers Assemble). Since he was a founding member, newer fans probably assume that Hulk has had as long a history with the team as Iron Man or Thor and might just be surprised to learn that Hulk actually quit in Avengers #2 (Nov. 1963)! The Hulk, you see, was never much of a team player—a character trait that worked against him in the Avengers, but which made him a perfect candidate for Marvel’s so-called “non-team,” the Defenders. As covered in BACK ISSUE #65, the Defenders are an inconsistent gathering of anti-heroes including Dr. Strange, Namor the Sub-Mariner, and the Silver Surfer, who occasionally join forces to defend the Earth from evil. For someone as antisocial as the Hulk, the Defenders were a much better fit than an organized unit like the Avengers.

HULK NOT LIKE GROUPS When Dr. Strange first proposes the idea of joining forces with Hulk and Sub-Mariner as the “Defenders” in Marvel Feature #1 (Dec. 1971), Hulk responds, “Hulk never wants to get together again. Never! Hulk was in group once—called Avengers. Didn’t like it.” But like it or not (and he often didn’t like it), the Defenders would get together again, and the Hulk would usually be among them. “As in the first couple of issues,” says Defenders creator Roy Thomas, “I saw him as the ultimate I-don’t-want-to-be-in-any-dumb-group guy who still (unknown to himself) kinda needs their companionship.” When Dr. Strange first seeks out the Hulk to join him and Namor, he appears in his astral form and goads the Hulk into following him. Once the Hulk reaches Strange’s physical form and he explains their need, Hulk says, “If you want to be Hulk’s friend—Hulk will go with you.” Writer Steve Englehart notes, “The Defenders weren’t supposed to be a team, and the Hulk was easy to fit into that because he wasn’t a team player. His thought process is pretty limited, but that worked for the Defenders, because all you had to do was point him in one direction, and if you can convince him to go, he’ll go.” Sometimes, when things went wrong, Hulk would point out that he was opposed to the Defenders from the start. “Hulk thinks group is stupid idea!” he says in #54 (Dec. 1977). “Always has!” Englehart adds, “The secret of writing Hulk stories is to have what other characters get out of him; he’s going to give them the same thing in a very limited range. It’s a question of how other people play off of him. He’s the 500-pound elephant in the room, and the rest of you have to deal with him. Sub-Mariner didn’t like dealing with indirection and would stand up to the Hulk. He was

Really, Would You Want to Team Up with This Guy?? The Hulk “and” Power Man and Iron Fist, with guest-star Machine Man. Detail from the cover of Marvel Team-Up Annual #3 (1980). Art by Frank Miller and Joe Rubinstein. TM & © Marvel Characters, Inc.

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Old “Friends” (left) Two original Avengers meet—and clash—on the John Romita, Sr. cover to The Defenders #10 (Nov. 1973). (right) The Gil Kane/Frank Giacoia cover to Marvel Team-Up #18 (Feb. 1974). Looks more like “Marvel Mixing It Up” to us! TM & © Marvel Characters, Inc.

more direct with the Hulk, more unwilling to bend, whereas Dr. Strange spends a lot of time in the ozone … and he’s seen so much that he’s not subject to petty human prejudices. He’s more willing to accept the Hulk as he is and work with him, whereas Namor is more used to giving orders. Silver Surfer had no problem with the Hulk; he, too, was so cosmic that he could see the Hulk for what he was and roll with it.” In Defenders #7 (June 1973), Hawkeye joins the group when Attuma captures Namor and orders the others to surrender. Used to the “all-forone” mentality of the Avengers, Hawkeye agrees, but Hulk takes off rather than allow himself to be taken prisoner on Attuma’s underwater ship, since he hates the water. “Other characters would have complex thoughts, and they’d rationalize,” Englehart says, “but the Hulk was either ‘yes’ or ‘no’; he had a very binary thought process: ‘I’m either doing this or I’m not doing this, and if I’m not doing this, I’m outta here!’” This sort of thing happened often, with Hulk storming off for one reason or another, and then returning the next time Strange summoned him because his memory is so short that he would forget why he left in the first place.

HULK HAS NO FRIENDS As the Hulk’s mortal identity, Bruce Banner interacted with the Defenders from time to time and appreciated their help and friendship. Although not always accustomed to heroics, Banner would try to help the group in any way possible. Often, this meant turning into the Hulk, but Banner’s scientific knowledge sometimes came in handy, such as when he had to prevent a gamma bomb from exploding in #19 (Jan. 1975), or when he had to cure the Defenders of radiation poisoning in #56 (Feb. 1978). In time, the Hulk also came to consider the Defenders as friends. In #12 (Feb. 1974), Strange and Valkyrie come to Hulk’s aid against Xemnu, causing him to realize, “If Dumb Magician comes all this way just to help Hulk—then Dumb Magician is Hulk’s friend.” Strange replies, “That, my overlarge and overly exuberant associate, is something I’ve been trying to drive into your emerald pate for quite some time now.” That same month, Hulk joins forces with the Human Torch in Marvel Team-Up #18. A mad scientist uses gamma radiation to revive FF villain Blastaar, which draws the Hulk into the area. Learning that the Hulk is suffering from a buzzing sound in his head, the Torch tricks Hulk into following him by claiming that he can lead Hulk to the one causing the sound, not realizing that Blastaar actually is the source of the Hulk’s pain. 68 • BACK ISSUE • Hulk in the Bronze Age Issue

Hulk is weakened by Blastaar’s gamma-irradiated force-bolts, so the Torch instructs him to attack Blastaar from afar by throwing rubble at the villain. Since the Torch helped him, Hulk complies and squeezes the rubble into a ball, cutting off the gamma radiation and imprisoning Blastaar. However, the Hulk’s mood can change quickly, such as when Valkyrie decides to leave the Defenders in #17 (Nov. 1974). Hulk is so upset over her departure that he turns on Strange and Nighthawk. “Magician says he is Hulk’s friend—but magician lies!” he rages. “If magician was really Hulk’s friend, magician would never have let girl leave!” So the Hulk leaps away and lands in Marvel Team-Up #27 that same month, where he encounters the Chameleon, who disguises himself as Hulk’s longtime friend, Rick Jones. “Rick” tricks Hulk into breaking Joe Cord—who had saved Chameleon’s life when they were children—out of prison. When Spider-Man removes Chameleon’s mask, Hulk becomes enraged, and the two criminals attempt to escape. A policeman opens fire, and Cord jumps in front of Chameleon to take the bullet. Chameleon asks the dying Cord why he sacrificed himself, and Cord says, “Why else? You were … my … friend…” Learning something about the meaning of friendship, Hulk overhears a radio report about the Defenders battling the Wrecking Crew and takes off to join the fight in Defenders #18 (Dec. 1974). “Hulk thought Magician and Bird-Nose had betrayed Hulk,” he says, “but Hulk now know Hulk was wrong!” The Hulk meets Spider-Man again in Marvel Team-Up #53 (Jan. 1977), where the Web-Slinger finds the population of a New Mexico town dead while the Hulk battles another man-monster called Woodgod. Spidey comes across soldiers wearing radiation suits and tries to get answers from them, but Woodgod attacks him. Recalling previous battles with Spidey, Hulk decides to help Woodgod smash the Wall-Crawler instead. In next month’s issue, Hulk and Woodgod are captured by the military, but Spidey senses the soldiers are up to no good, so he frees them. Hulk immediately switches gears and decides, “Bug-Eyes is Hulk’s friend! Set Hulk free!” The military intend to shoot Woodgod into space on a rocket and pin the blame for the town’s destruction on the Hulk, but Spidey is accidentally launched in the rocket while Hulk and Woodgod battle the military. Unable to save Spider-Man, Hulk watches the rocket leave Earth and says, “Goodbye, Bug-Eyes! Goodbye—FRIEND!” (Don’t worry, Adam Warlock finds Spidey on the moon in the next issue.)

NO ONE TELLS HULK WHAT TO DO

HULK NOT PLAY WELL WITH OTHERS

While the Hulk always seemed to have a grudging The Hulk crosses paths with Spider-Man again in Marvel respect for Dr. Strange, he never cared much for following Team-Up Annual #2 (Oct. 1979) when a Russian madman orders, which Nighthawk found out the hard way when threatens to destroy America with an anti-matter bomb. he tried to lead the Defenders after Strange’s departure. Only the Hulk has the power to stop the bomb once “He was trying to order the group around, but they it’s activated, so Spidey berates and slaps an exhausted would just blow him off,” says writer David Anthony Banner in order to trigger the transformation. Predictably, Kraft. In #54, Nighthawk unsuccessfully tries to give the Hulk’s first thought is to smash the Web-Slinger, Hulk orders, but the brute responds, “Hulk doesn’t take so Spidey—as is often the case in these “team-ups”— orders from feather-face!” Nighthawk complains has to trick Hulk into going after the bomb about this “insubordination,” but Hulk shows by questioning whether even he is strong his disdain for Nighthawk’s leadership in enough to stop it. Although he suspects #60 (June 1978) by saying, “Bird-Nose a trap, Hulk is still determined to can sit and look serious—but that prove he is “the strongest one there doesn’t make him smart … or boss!” is,” and Spidey manages to goad Valkyrie seemed to have a better him into knocking the bomb into handle on how to deal with the Hulk. outer space, where it explodes In #44 (Feb. 1977), an enraged harmlessly. Hulk says, “Get out of Hulk’s way, girl.” Perhaps due to the popularity Valkyrie responds, “I will not. Not until of his TV series, the Hulk was chosen you calm down.” Hulk slowly backs to occasionally replace Spider-Man down and Nighthawk exclaims, “I as the lead in Marvel Team-Up, the don’t believe it! He’s actually responding ed hannigan to you!” Valkyrie points out, “He’s responding to reason, Kyle.” Englehart explains, “Hulk was a little soft on Valkyrie; it’s that child-like thing … girls were ‘special’ somehow.” However, even Valkyrie couldn’t control the Hulk all the time. In #49 (July 1977), when the Defenders need the Hulk’s help to rescue Nighthawk from Scorpio and the Zodiac, he refuses to cooperate. “Hulk does not want to be bothered today—not even by friends.” So, Valkyrie decides to force the Hulk into following them to Scorpio’s headquarters by attacking him and getting him to chase them. Fortunately, the gambit pays off and once they reach Scorpio’s lair, the Hulk turns his anger towards the Zodiac. “Valkyrie had a calming effect on the Hulk,” Kraft says, “which led to what may be the best moment in the Hulk’s history or the worst—depending on your point of view—where she gets the Hulk to serve coffee” in #62 (Aug. 1978). Since the Hulk wasn’t always the most sociable fellow, it was sometimes difficult for writers to work him into Defenders stories. “I didn’t see Hulk as fitting with a group and had to deal accordingly,” says writer/artist Ed Hannigan, “which sometimes meant pushing him off to somewhere else or knocking him out or whatever. But we were required to have the Hulk in every issue because the [Incredible Hulk live-action] TV show was big then.” But Hannigan managed to make good use of the Hulk once in awhile. In #75 (Sept. 1979), Hulk rescues a beached whale by returning him to the sea. Hulk encounters the same whale again in #88 (Oct. 1980) and attacks a Russian whaling ship to save him and other whales. “I did enjoy doing the story with the whales,” Hannigan recalls, “because whales are kind of Hulk-like, very strong but hunted and hounded.”

TM & © Marvel Characters, Inc.

“Very Strong but Hunted and Hounded”… …says writer Ed Hannigan of whales when comparing them to a certain Jade Giant. Here, in original art form (courtesy of Heritage Comics Auctions), the Hulk encounters a beached whale. From The Defenders #75 (Sept. 1979). Art by Herb Trimpe and Mike Esposito. TM & © Marvel Characters, Inc.

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Marvelous Milgrom Courtesy of Al Milgrom, original cover artwork for two Hulk-co-starring covers: Marvel Team-Up Annual #2 (1979) and MTU #104 (Apr. 1981). TM & © Marvel Characters, Inc.

way the Human Torch did in earlier issues. Hulk was an odd choice to star in a team-up series, since most of his encounters with other superheroes usually led to him fighting against them rather than with them. However, in #97 (Sept. 1980), Hulk barely crosses paths with his co-star, Spider-Woman. Both wind up being captured by a mad scientist who wants to use them in his experiments to create a new form of life capable of surviving atomic radiation. When SpiderWoman tries to awaken a drugged Bruce Banner by slapping him, he turns into the Hulk, but she swiftly gets out of his way and goes after the bad guys while the Hulk battles the scientist’s monstrous creations. Hulk also headlined in Marvel Team-Up Annual #3 (Nov. 1980), with co-stars Power Man and Iron Fist. Nightshade tricks the Hulk into stealing a computer circuit that is being guarded by the Heroes for Hire, which naturally leads to a fight until Hulk recognizes Luke Cage from his time with the Defenders. The heroes are able to convince Hulk that he has been misled, and he helps them capture Nightshade. In #104 (April 1981), Banner gets a job aboard a freighter ship, unaware it is transporting MODOK to the Savage Land so he can trap dinosaurs to use as an “inhuman, unstoppable army.” Ka-Zar gets involved and is captured, but when Banner becomes the Hulk, Ka-Zar tricks the brute into breaking his chains by wrapping them around Hulk’s neck. Fortunately, Ka-Zar manages to re-direct Hulk’s anger toward the dinosaurs

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and MODOK Afterwards, Ka-Zar invites Hulk to stay in the Savage Land, but he replies, “Hulk does not want a savage land. Hulk wants peace.” In the next issue, Hulk is once again paired with Power Man and Iron Fist. This time, Hulk attacks their plane, thinking there are soldiers onboard, which leaves the Heroes for Hire stranded in the desert. An old man and his family mistake the bulletproof Luke Cage for the Hulk and try to force him to move a large rock that is blocking their water supply. Even though he recognizes Cage and Fist from their last meeting, Hulk immediately attacks them. The duo dodges one of the Hulk’s mighty blows, which destroys the rock and releases the water. The Army then shows up and Hulk runs off, lamenting the fact that Cage and Fist are friends, while he has no one.

HULK NEEDS NO ONE Hulk still had the Defenders to turn to, but that wasn’t always enough. Writer J. M. DeMatteis didn’t use the Hulk very often during his run, but when he did, it was memorable. In #101 (Nov. 1981), the Defenders are depressed after the previous issue, which ended with their comrade, the Son of Satan, joining his father in Hell in order to save the world. A frustrated Hulk asks, “Why does everyone act like something bad happened? We beat devils, didn’t we? World is safe, isn’t it?” Hellcat, who was in love with Son of Satan, snaps at the Hulk, which confuses him. When Hellcat apologizes,

he tosses her aside and snarls, “NO! Hulk doesn’t care about ‘sorry’—doesn’t care about Defenders! Nobody smiles anymore—nobody is nice to Hulk anymore! And if nobody is nice—then there’s no reason for Hulk to stay!” Hulk leaps away in anger once again, not returning until #107 (May 1982), when he is summoned to a funeral for Valkyrie and Nighthawk—both of whom were at the time believed dead. Startled by the Hulk’s arrival, Hawkeye exclaims, “Are you guys off your rockers bringing that green-skinned lunatic here? What’re you trying to do, Doc—get some more of us killed?” But Strange points out, “The Hulk is a Defender, Hawkeye. More than that—Valkyrie and Nighthawk were his friends. In his own way, the Hulk loved them. As you can surely see,” and the Hulk is shown crying. In Marvel Team-Up #126 (Feb. 1983), Hulk and Spider-Man star in a story originally published as a Sunday newspaper supplement. The Hulk is on a rampage in New York City and Spidey lures him to a deserted area, where he calms down and changes back into Banner. As Peter Parker, Spidey offers Banner his last five dollars, saying that a stranger gave it to him when he was down on his luck, so it should be passed on to someone else in trouble. Later, Banner comes across a robbery victim and changes into the Hulk to chase the thieves away. Sensing the poor man’s despair, and vaguely recalling Parker’s speech, Hulk gives him the five dollars. Although Spidey and the Hulk never actually “team up,” they do work together in a sense when Hulk reciprocates Parker’s gift by passing it on to someone else in need. By the time the original Defenders disbanded in #125 (Nov. 1983), Bruce Banner’s intellect had gained control over the Hulk, which left him more interested in scientific pursuits than heroics. In Incredible Hulk #278 (Dec. 1982), Banner was already questioning his status

as a Defender, and in the next issue, Dr. Strange realizes this, saying to himself, “Farewell, my colossal comrade-in-arms.” However, in later years, the Hulk would revert to his child-like personality and join new incarnations of the group. “I liked writing the Hulk in both Defenders and in his own book,” Englehart reflects. “The Hulk is very simple, but sometimes the simple things are the hardest ones to deal with. The Hulk was a brute, but he was likable. He might seem scary, but you generally thought the Hulk was an okay guy.” He might not have been a “team player,” but one thing’s for sure—you’d definitely rather have the Hulk on your side than against you!

Spidey “and” the Hulk (above) Courtesy of Heritage Comics Auctions, the splash to the Spider-Man/ Hulk/Woodgod tale from Marvel Team-Up #54 (Feb. 1977). (left) The Spidey/Hulk newspaper supplement comic was reprinted in MTU #126 (Feb. 1983).

DANIEL DeANGELO is a freelance writer/artist in Florida. He would like to thank Roy Thomas, Steve Englehart, David Anthony Kraft, Ed Hannigan, and David T. Allen for their assistance with this article.

Hulk in the Bronze Age Issue

TM & © Marvel Characters, Inc.

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How Mantlo, David, and Freud Redefined the Incredible Hulk The True Monster Revealed

Ronnie Deen

Scribe Bill Mantlo’s tale “Monster” in The Incredible Hulk #312 (Oct. 1985) gave a new face to Bruce Banner’s rage. (left) Cover art by Mike Mignola and Bill Sienkiewicz. (right) Interior flashback sequence penciled by Mignola, inked by Gerry Talaoc, and colored by Bob Sharen. TM & © Marvel Characters, Inc.

There is a monster inside of Bruce Banner, but is it a monster created by science or by the mind? This is the question that two writers chose to explore within the pages of The Incredible Hulk. Bill Mantlo addressed the creation and cause for the Hulk in the penultimate story within his storyline “Crossroads of Eternity” in Incredible Hulk #300–313 (Oct. 1984–Nov. 1985), where he revealed Bruce Banner as the victim of child abuse. (“The Crossroads of Eternity” was a 13-issue storyline that saw the Hulk banished to a limbo-like plane that led him to different dimensions and planets. The end of each adventure saw the Hulk banished back to the very beginning, at the Crossroads.) Peter David followed up by exploring the psychological impact that the abuse had on Banner, resulting in the creation of multiple personalities. Make no mistake about it—these developments were extremely important to the character. When Stan Lee and Jack Kirby created the Hulk in 1962, they created a modern-day version of Dr. Jekyll and Mr. Hyde that served as a warning against science advancing faster than humans could handle, the result being a monster that terrorizes the populace. However, by the 1980s that depiction was old and stale. Establishing a history of child abuse and treating the Hulk as the physical manifestation of a mental disorder forever changed the dynamic of the character, taking him away from the Jekyll-and-Hyde analogy and making him the physical embodiment of modern psychosis and trauma. When Bill Mantlo became the Hulk writer in the early ’80s, he knew that the character needed some major revising. The old days of Banner 72 • BACK ISSUE • Hulk in the Bronze Age Issue

showing up and “Hulk Smash!” had become passé. Mantlo was a writer with a unique view and one who always wanted to blaze his own path. As Mantlo biographer David Yurkovich told Greg Pak in an interview, “On Incredible Hulk, Bill also bucked the status quo. The Hulk evolved from savage to intelligent to primal” (Pakbuzz.com, Feb. 2007). For decades, Dr. Bruce Banner was just a run-of-the-mill, meek scientist victimized by his own scientific achievement. The Hulk was merely the monster created from atomic science that would show up when Banner was under stress. Very little was given in the way of explanation beyond that. Mantlo’s approach was to show the Hulk as the personified inner rage of Bruce Banner, long suppressed for reasons unknown. This was a substantial change in the character. Before, the monster was created in response to whatever external stimulus was threatening him, but now there was evidence that the Hulk was always there under the surface. The Hulk slowly changed from an independent creature created from the mutated atoms of Banner to a part of Banner. It wasn’t until “Monster” in Incredible Hulk #312 (Oct. 1985), the penultimate issue of the “Crossroads” storyline, that the cause of Banner’s meekness and repressed anger was revealed when it was shown that he suffered physical abuse at the hands of his father, Brian Banner, ultimately resulting in Bruce witnessing the murder of his mother at his father’s hands. The importance of this issue cannot be overstated. The influences on Mantlo to approach this topic were common in the 1980s: Child abuse had become a huge societal issue in the United States by 1985,

Mainstream Awareness Dissociative Identity Disorder (formerly Multiple Personality Disorder) reached a broader profile thanks in part to the theatrical release of The Three Faces of Eve, starring Joanne Woodward, and the telefilm Sybil, starring Sally Field. The Three Faces of Eve © 1957 20th Century Fox. Sybil © 1976 Lorimar Productions.

thanks in part to the Kern County child-abuse case in California that was on the minds of the American populace. The American Humane Association estimated that in 1984, 1.4 children were either abused or neglected. It is safe to say that by revealing Bruce Banner as an abuse victim, the Incredible Hulk became topical as a character that many could identify with and took on more significance as the very personification of repressed rage felt by victims of abuse. The biggest change in the comic book was reader’s view of the Hulk, who had previously been portrayed as a pseudo-antagonist to Banner himself. The Hulk was now seen as much of a victim as Banner had been and became a sympathetic creature of a sort. In the end, it was a single issue that touched upon the abuse suffered by Bruce. However, that history of abuse is extremely important not only for the reasons of relevancy but also for the fact that it was a necessary history that would lead to writer Peter David delving deeper into the complex psychological nature of Banner. The biggest implication of this revelation was the effect it had on the entire landscape of the Hulk’s history; it put his very existence into a much more relatable context. Sufferers of child abuse routinely bury their emotions and pain as a way to cope with trauma. An abused child taught to hide their emotions and bury their pain may result in a schism within his psyche. Peter David took this knowledge and further developed the Hulk to be the physical representation of that schism. When David took on the writing duties of The Incredible Hulk in the late 1980s, his creation of Joe Fixit established Bruce Banner as a man who suffered from Dissociative Identity Disorder (D.I.D.). As Mantlo helped establish the Green Hulk as the personification of Bruce Banner’s anger, Joe firmly established the behemoths as personas (or “alters”) resulting from the trauma of Banner’s early life. In the entire decade of the 1980s, there were more than 20,000 cases of Dissociative Identity Disorder (formerly Multiple Personality Disorder) in the United States alone. Thanks in part to the films The Three Faces of Eve and Sybil, there was a growing fascination with the disorder in the popular culture of America. David’s story of the Hulk as Joe Fixit was the result of the psychological impact that was built upon the work Mantlo started. One of the current accepted causes of Dissociative Identity Disorder is trauma in childhood that can lead, in most cases, to repressed emotions and

memories of the event. This is either due to guilt, anger, or fear. In many cases this is a form of self-preservation on the part of the child. However, in these cases where the patient begins to create new personas, this is believed to be caused by the brain compartmentalizing the grief and anger in a form that the person can handle. The patient’s base personality is more often than not unaware of the existence of the alters or their actions. The person enters into a sort of fugue state, at which point one of the alternate personas takes over. Bruce Banner suffered this thanks to the genetic mutation caused by the gamma bomb. Sufferers of D.I.D. only change personality traits and behavioral norms of the base persona. Any physical changes are merely cosmetic, with mostly appearance changes in the form of clothing, makeup, and hairstyles. However, Bruce experiences a complete transformation, representing a part of the Freudian dynamic of the Ego, Id, and Superego in its basest level. The Ego would be Banner. He is the intelligent center that interacts and interprets the outside world and stimulus. The Ego is formed once the person becomes self-aware. The Id is pure animalistic instincts. It is all the negative, primitive emotions with no moral or intelligent essence. The Id is established from birth; it is the basic nature of the psyche. It is where the survival instinct dwells. It cannot interpret the outside world; it merely concerns itself with its own immediate gratifications. Could this be anything other than the savage Hulk, a being animalistic in nature and fueled by all the negative emotions found in humanity? But what gave rise to this well of rage and anger? What could be a possible reason for this? The Ego has to give release to the baser instincts of the Id within the appropriate contexts in order to maintain harmony within. This interaction is normally hindered in the minds of sufferers of child abuse. Children with a history of abuse have been found to bury their negative emotions due to conditioning. Children of an abusive parent tend to bury these emotions out of fear of retaliation by that parent. It’s a form of denial used as a defense mechanism in order to function in that environment. What this leads to, in later years, is the eruption of those negative feelings that the child never learned to handle. This tends to be the underlying cause of why abused children become abusive themselves. The Ego is forced to bury the Id and is never taught how to express those emotions in constructive ways. Hulk in the Bronze Age Issue

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Never Shrinking from Duty According to writer Ronnie Deen, “Dr. Sigmund Freud is considered the father of modern psychiatry based on his creation of psychoanalysis. Aside from his creation of the structural model of the human psyche, Freud developed numerous theories on the importance of the unconsciousness and dream interpretation in psychotherapy.”

Hulk vs. Hulk Hulk battles the Maestro in Hulk: Future Imperfect #2, by writer Peter David, artist George Pérez, and colorist Tom Smith. Original color guide courtesy of Heritage Comics Auctions (www.ha.com). TM & © Marvel Characters, Inc.

Bruce Banner definitely showed a general inability to express any negative emotions in previous stories. However, the interesting thing is that it seems the gamma explosion not only transformed the physical aspects of Bruce Banner, but somehow freed his id from the Ego’s suppression. The result is that the Id became capable of suppressing not only the Ego but the Superego as well. What was left was a towering Hulk of pure Id, the green, raging personification of every abused child. As the story progressed, it became interesting to note that when the Hulk persona took over, it seemed to show the Id interpreting the outside world rather than the Ego. The Hulk at times acted in the reactionary manner of an animal, but at times seemed to show signs of cognizance and recognition. In these moments we see the Id interpreting the outside world for the Ego, this resulting in the Hulk not having any

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real recognition of a person but an instinct (influenced by the Ego) that what the Hulk is seeing is safe, friendly, and familiar. But what about Joe? As explained above in discussing Bill Mantlo’s contributions, the “savage” Green Hulk is the representation of Banner’s negative emotions described by Dr. Sigmund Freud as the Id. When Peter David brought back the Gray Hulk from origin story in the original Incredible Hulk #1 (May 1962) and gave him a personality as a cold and calculating enforcer named Joe Fixit, he established the different Hulks as separate identities of Banner himself. What was created was another extension of the Superego, Ego, and Id triangle. Joe Fixit is what results from the absence of the Superego. Where the Hulk was the Id incarnation, Joe was both the Id and the Ego, again without the moral barometer. This created a cold, calculating, immoral opportunist. Joe showed traits of narcissism and anti-social tendencies, both of which do tend to show up when a patient is diagnosed with one or the other. Freud saw the Superego as: “[That which] retains the character of the father, while the more powerful the Oedipus complex was and the more rapidly it succumbed to repression (under the

influence of authority, religious teaching, schooling and reading), the stricter will be the domination of the super-ego over the ego later on—in the form of conscience or perhaps of an unconscious sense of guilt.” – Freud, The Ego and the Id (1923) Joe had the full cognizance of the Ego and the base desires and instincts of the Id. However, Joe was that persona of the man with no conscience. Joe had the very traits of a sociopath. He lacked empathy, compassion, or any sense of moral integrity. All of these traits are established by the Superego. Its use of guilt is important to establish the boundaries of the personality. Joe was devoid of these things. In many ways, Joe was the closest the Hulk ever came to being truly evil. I should note that David did not stop with Joe. He continued this tangent into the ’90s with his storylines involving the Hulk facing a future, malevolent version of himself known as the Maestro in Future Imperfect #1–2 (Dec. 1992–Jan. 1993). He made it the central part of the Hulk’s tale in the “Heroes Reborn” storyline as well in Incredible Hulk #447–460 (Nov. 1996–Jan. 1998), which saw the Hulk physically separated from Banner to where they were two separate individual physical entities. David’s biggest story highlighting the dissociative nature of the Hulk was in his story The End (Aug. 2002). In it, the Hulk and Banner were the last two beings on the planet and Hulk is desperate to hunt him down and kill him so he can be alone. The denouement of Peter David’s work on the Hulk after over a decade of personality clashes saw Bruce and his alter have their

final battle—the ending of which I will leave for you to discover for yourself. I think it’s safe to say that the impact that Bill Mantlo and Peter David had on the Incredible Hulk is still felt today. One needs to look no further than director Ang Lee’s Hulk in 2004 to see how much Bill Mantlo’s work is still influential. The entire movie is based squarely on “Monster” from Incredible Hulk #312. To see how David’s work on The Incredible Hulk has influenced recent culture, one has to look at Mark Ruffalo’s work on The Avengers (2012). Ruffalo’s Banner is one who has learned to handle the rage by always having it at the ready. The Hulk is a part of Banner, with the rage of the Id boiling below the surface. Bill Mantlo spent five years redefining the Hulk, with Peter David taking over a decade to solidify him as a manifestation of the damaged psyche of a mild-mannered nuclear physicist. Their work has kept the Hulk in the mainstream of pop culture, and with the inclusion of a Red Hulk within the Marvel Universe, the adventures of Banner and company will have many more years ahead for psychologists to analyze just what makes him tick.

Gray Matters (above) No writer got inside Bruce Banner’s head quite like Peter David. Dale Keown’s artwork, featured on the cover to Marvel Visionaries: The Incredible Hulk: Peter David #5. (left) The Maestro, as seen in a sculpture from Bowen Designs.

RONNIE DEEN is an editor for the online geek website www.needlessessentialsonline.com. He holds a Bachelor’s Degree in Psychology from Belmont Abbey College.

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Remember Marvel’s great “bait and switch” of latesummer 1971? Starting with its titles on sale in June 1971, DC Comics addressed escalating costs by raising its cover price from 15 cents to 25 cents (a dramatic bump in those days, painful for most kid consumers), but also by expanding its page count from 32 to 48 pages. The change was touted on the ultra-rare promotional poster seen here, kindly shared with us by Russ Garwood. DC fleshed out that additional page count with reprints, scoffed at by some readers but appreciated by others who enjoyed glimpses at material from the Golden and Silver Ages. After roughly two months of hanging on at the traditional page count of 32, trumpeting on some covers “Still 15 cents,” with its August 1971 on-sale titles (cover-dated November) Marvel made the leap to 48 pages and 25 cents—just as DC had anticipated. But in the Mighty Marvel Manner, most of its series featured longer lead stories instead of backup reprints. Case in point, the comic featuring this edition’s star: The Incredible Hulk #145, shown here as well. Under its Herb Trimpe/John Severin (also the interior art team) cover is a 33-page tale plotted by Roy Thomas and scripted by Len Wein, featuring the Hulk on a movie set (insert your own “Hulk Box Office Smash!” pun here). Marvelites might argue that extra-length tales like this one were a “bigger and better” value than DC’s sometimes-obscure recycled oldies. (Just sayin’: I’m not taking sides.) Then Marvel pulled the ultimate sucker punch, the next month lowering their page count back to the traditional 32—and dropping their cover prices to 20 cents! By underselling DC by a nickel in an extremely competitive marketplace, Marvel drove up their sales and the blood pressure of their competition.

A TWIST OF FATE As the editor of the “Dr. Fate” feature by Marty Pasko and Keith Giffen (“A Matter of (Dr.) Fate,” BI #64), I can shed some light on some issues raised therein. The details of how I decided to replace the redundant Firestorm backup with Dr. Fate was told in TwoMorrows’ The Flash Companion. Briefly put, Firestorm was too much like the Flash to attract new readers, and I had never liked the character, finding him far, far too derivative. I arranged for Flash #305 to be a book-length story guest-starring Dr. Fate, to ballyhoo his series in the next issue. Cary Bates wrote that story, and Marty tweaked Fate’s dialogue. Regarding how Keith got the assignment, I first offered it to Walt Simonson, who declined. I don’t recall any influence from the office to use or not use Keith. My recollection is that I thought his arcane style would be a good fit for the strip, which it certainly was. Keith later gave me the original art for an ad for the series, which I still own. The collaborations with Steve Gerber came about when Marty was extremely busy with work at other venues. He informed me that Steve Gerber had earlier written a short Dr. Fate series that had never been used, and perhaps some time could be saved by incorporating those into the current series. I found the scripts in DC’s inventory file, read them and received permission to execute Marty’s plan. It worked out swell. We saved time and good stories were saved from oblivion. The readers loved the Dr. Fate series, and sales jumped, as I expected they would. With Fate, the readers got something they couldn’t get in The Flash, a different kind of superhero that Firestorm couldn’t give them. But DC VP Joe Orlando wasn’t impressed. In one Fate, a creature very reminiscent of Giger’s “Alien” popped out of someone’s throat—I believe it was Inza Nelson’s (Dr. Fate’s wife). Joe was furious over the alleged graphic nature of this, ignoring that the story had been approved by the Comics Code Authority, and threatened to fire me. I turned to Paul Levitz, who was in the meeting, and asked: ”Am I fired?” Paul waved his hand wearily. ”Sit down, nobody’s fired.” But I left staff soon afterward, having had my fill of political games. Some short notes: The cover copy for Flash #306 (pg. 65) originally contained the phrase “speed-freaks” instead of “whiz-kids,” but the hep cats at DC thought that a drug reference, and changed it. The cover copy for Flash #310 (pg. 67) was written by Len Wein, who took the book back after I left staff.

Marty and Keith did a fine job on the too-brief series; it remains a high point in my memories of my not-brief-enough staff editorial career. – Mike W. Barr Thanks for that info, Mike. BTW, fans of Mr. Barr should plan to join us for BACK ISSUE #73, themed “Batman’s Partners,” featuring a Barr/Alan Davis “Pro2Pro” on their Detective Comics collaboration and an in-depth article exploring Batman and the Outsiders.

OVERLOOKED SERIES I was once again surprised with your latest BACK ISSUE [#65], covering series/characters I had overlooked when they were originally published! I probably missed out on a great number of projects featuring some of those great talents you interviewed this issue! I remember being impressed with Doom Patrol in their Showcase series, but never followed up on the old back issues or the group in the many series to come. There were other B-groups such as Metal Men that I had interest in through Brave and Bold #121 (the first of my continued purchases to the end of that great series!) but neglected to read upon them. Like the recent issue on backups, there were plenty of great stories and characters, and the talents to bring them to us, and I’m glad you remind us of some of the stuff we may have overlooked! – Paul Green Paul, the Metal Men’s Bronze Age adventures get a cover-featured spotlight in BI #72!

OUT OF HIDING Thank you the good treatment of my letter and the big reproduction of the Hiding Place cover. I’ll be happy to be one of your mailing list for questions about DC between ’80 and ’90. – Charlie Boatner You’re welcome, Charlie! And thank you for the offering to be a BACK ISSUE “talking head.” We’ll get in touch with you when the opportunity arises.

GUARDIANS ARE GO! Noticed the Guardians of the Galaxy article in the latest BACK ISSUE… Here’s a scan [see page 78] of the Marvel Presents #3 original sketch by Milgrom that was used by John Romita, Sr., who did the original published version from Al’s sketch. For future reference, this is an example of what I can provide. – Shaun Clancy Shaun, this is great, and appreciated. Since Shaun contacted me with this message, he and I have been in touch regarding commissions, sketches, and other rare art, and expect more treasures from the Clancy collection in BIs to come.

Hulk in the Bronze Age Issue

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BACK ISSUE • 77

THE PREVIOUSLY SEEN HULK If your eyes are glazing gamma-green over this issue’s supposed absence of some Hulk-related coverage you expected, don’t get angry! Instead, get these back issues of BACK ISSUE, which included these incredible features: • Lou Ferrigno interview: BI #5 • Peter David interview: BI #18 • The Defenders: BI #19, 31 (Steve Gerber’s Defenders), 65 • “Greatest Stories Never Told” She-Hulk movie: BI #19 • Herb Trimpe interview: BI #28 • Thing vs. Hulk: BI #28 • Rampaging Hulk/The Hulk magazine: BI #28 • Hulk UK series: BI #28 • She-Hulk in Fantastic Four: BI #38 • John Byrne’s Sensational She-Hulk: BI #39 • Savage She-Hulk: BI #54

78 • BACK ISSUE • Hulk in the Bronze Age Issue

SILVER AGERS IN BRONZE I have a suggestion for a future article in BACK ISSUE. I’d enjoy reading a piece written on the return of Marvel’s Silver Age writers and artists to Marvel after Jim Shooter’s dismissal, and how they regarded their experiences and creations during the Tom DeFalco era. – John Vest That’s an interesting idea for an article, John. How about the rest of you? Anyone interested in this story? (And are there any of our regular writers ready to take it on?)

WE’RE NOT DONE WITH ROBOTMAN… Your focus on “B-Teams” was once again an issue I read from start to finish. Writers Daniel DeAngelo, Jarrod Buttery, Chris Franklin, Alex Boney, Timothy Callahan, and Jonathan Rikard Brown all did a fantastic and thorough job with their articles. However, I have to single out Michael Browning, if for no other reason than the excellent job he did of tying together the three very different versions of the Doom Patrol together. The interviews given by writers Arnold Drake and Paul Kupperberg and artists Steve Lightle and Erik Larsen were refreshingly honest and enlightening. I admit that I scooped up Doom Patrol #1 based on that beautiful wraparound cover you featured on page 48, knowing very little about the original series, but quickly lost interest in the book by #6. At the time, I found the stories lacking and the switch from Lightle to Larsen too jarring. Only years later could I come to appreciate Larsen’s work on other books. The only plot point left untouched by Michael Browning was Robotman’s role in The New Teen Titans #13–16, where he joined them in order to bring justice to the original Doom Patrol’s killers, the Brotherhood of Evil. I remember when those issues came out being surprised that the rest of the New Doom Patrol had been completely ignored, and in the NTT letters page writer Marv Wolfman apologized for excluding them, saying he was surprised by how many readers had expected Arani and the others to play a role in the story. Maybe someday Michael Browning or another writer might get Mr. Wolfman to

speak about that powerful story he did with George Pérez, and what prompted him to do the story in the first place, why he left out the rest of the New DP, etc. – Daniel Brozak Daniel, the aforementioned BACK ISSUE #72, themed “Robots,” includes an article about Robotman which delves into aspects of the character’s history that weren’t quite the purview of Michael Browning’s exceptional Doom Patrol interviews.

“SPARE PARTS” IN CHAMPIONS I really enjoyed reading about The Champions in the new issue of BI! I have fond memories of the title, and have the whole run as well. Maybe because this group was made up on so many “spare parts” was what appealed to me about it, but appeal it did. I agree with the remark that Ghost Rider acted nothing like he was portrayed in his own title at the time, which always bothered me, as it would have given the others all the more reason to distrust him, though I do admit to surprise that Angel and Iceman treated him that way, considering they of all people should know what its like to be given the stinkeye just because you are different. Still, this was a fun and sadly under-pushed team that truly deserves another bite of the apple. – Mike McCullough Next issue: “Tryouts, One-Shots, and OneHit Wonders”! Marvel Premiere, Marvel Spotlight, Marvel Feature, Strange Tales, the Showcase revival, 1st Issue Special, and New Talent Showcase. Plus: DC’s Dick Tracy tabloid, Sherlock Holmes, and Marvel’s Generic Comic Book one-shots … and who remembers the seen-only-once Bat-Squad, Crusader, and Swashbuckler? Featuring FRANK BRUNNER (Dr. Strange), NICK CARDY (Bat-Squad), GENE COLAN (Brother Voodoo), RAMONA FRADON (Metamorpho), MIKE GRELL (The Warlord), MIKE PLOOG (Ghost Rider), HERB TRIMPE (Ant-Man), and many, many more! With a fantastic ARTHUR ADAMS cover starring Marvel Premiere graduate Dr. Strange and his bewitching lady Clea! Don’t ask, just BI it! See you in sixty! Your friendly neighborhood Euryman, Michael Eury, editor-in-chief

SUBMISSION GUIDELINES BACK ISSUE is on the lookout for the following comics-related material from the 1970s through the 1990s: • • • • • • •

Unpublished artwork and covers Commissions (color or B&W) and professional-quality specialty drawings 1970s–1990s creator and convention photographs Character designs and model sheets Original art: covers and significant interior pages Little-seen fanzine material Other rarities

If you have any of the above materials, please query the editor via email prior to submission. Art contributors will be acknowledged in print and receive a complimentary copy of the issue.

Since BI is a full-color publication, preference is given to color artwork. Random convention sketches and “quick sketches” that do not reflect an artist’s best work and were not intended for print will no longer be considered for publication. BACK ISSUE does not read or consider unsolicited manuscripts. However, we routinely welcome new writers to our magazine, and have done so since day one! If you’re interested in writing for BI, please request a copy of the BACK ISSUE Writer’s Style Guide by emailing the editor at euryman@gmail.com. Contact BI at: Michael Eury, Editor-in-Chief, BACK ISSUE 118 Edgewood Ave. NE Concord, NC 28025

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Hulk in the Bronze Age Issue

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BACK ISSUE • 79

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AMERICAN COMIC BOOK CHRONICLES: 1960-64 & The 1980s

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BILL SCHELLY tackles comics of the Atomic Era of Marilyn Monroe and Elvis Presley: EC’s TALES OF THE CRYPT, MAD, CARL BARKS’ Donald Duck and Uncle Scrooge, re-tooling the FLASH in Showcase #4, return of Timely’s CAPTAIN AMERICA, HUMAN TORCH AND SUB-MARINER, FREDRIC WERTHAM’s anti-comics campaign, and more!

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JOHN WELLS covers comics in the 1960-64 JFK and Beatles era: DC’s new GREEN LANTERN, JUSTICE LEAGUE and multiple earths! LEE and KIRBY at Marvel on FF, SPIDER-MAN, HULK, and X-MEN! BATMAN’s “new look”, Charlton’s BLUE BEETLE, CREEPY #1 & more!

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DAN SPIEGLE: A LIFE IN COMIC ART

This sequel to ALTER EGO: THE BEST OF THE LEGENDARY COMICS FANZINE presents more vintage features from the first super-hero fanzine, begun by JERRY BAILS & ROY THOMAS. Editors ROY THOMAS and BILL SCHELLY reveal undiscovered gems from all 11 original issues published from 1961-78, including features on Hawkman, the Spectre, Blackhawk, the JLA, All Winners Squad, the Heap, an unsold “Tor” newspaper strip by JOE KUBERT, and more!

Documents his 60-year career on DELL and GOLD KEY’S licensed TV and Movie adaptions (LOST IN SPACE, KORAK, MAGNUS ROBOT FIGHTER, MIGHTY SAMPSON), at DC COMICS (BATMAN, UNKNOWN SOLDIER, TOMAHAWK, JONAH HEX, TEEN TITANS, BLACKHAWK), his CROSSFIRE series for ECLIPSE, DARK HORSE’S INDIANA JONES series and more, with rare artwork, personal photos, and private commission drawings. Written by JOHN COATES.

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MODERN MASTERS: CLIFF CHIANG

Spotlights the career of CLIFF CHIANG (artist of DC’s New 52 breakout hit WONDER WOMAN series) through a career-spanning interview, and loads of both iconic and rarely seen artwork from Cliff’s personal files. There’s also an in-depth look into the artist’s work process, and an extensive gallery of commissioned pieces, many in full-color. By CHRIS ARRANT and ERIC NOLEN-WEATHINGTON. (120-page trade paperback with COLOR) $15.95 (Digital Editions) $5.95 • ISBN: 978-1-60549-050-2 Ships January 2014

TwoMorrows. A New Day For Comics Fans! TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA • 919-449-0344 • FAX: 919-449-0327 E-mail: store@twomorrows.com • Visit us on the Web at www.twomorrows.com

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BACK ISSUE #70

KIRBY COLLECTOR #62

DRAW! #26

BRICKJOURNAL #26

BRICKJOURNAL #27

KIRBY AT DC! Kirby interview, MARK EVANIER and our other regular columnists, updated “X-Numbers” list of Kirby’s DC assignments (revealing some surprises), JERRY BOYD’s insights on Kirby’s DC work, a look at KEY 1970s EVENTS IN JACK’S LIFE AND CAREER, Challengers vs. the FF, pencil art galleries from FOREVER PEOPLE, OMAC, and THE DEMON, Kirby cover inked by MIKE ROYER, and more!

JOE JUSKO shows how he creates his amazing fantasy art, JAMAR NICHOLAS interviews artist JIMM RUGG (Street Angel, Afrodisiac, The P.L.A.I.N. Janes and Janes in Love, One Model Nation, and The Guild), new regular contributor JERRY ORDWAY on his behind-the-scenes working process, Comic Art Bootcamp with MIKE MANLEY and BRET BLEVINS, reviews of artist materials, and more! Mature readers only.

CREATURES GREAT AND SMALL with builders SEAN and STEPHANIE MAYO (known online as Siercon and Coral), other custom animal models from BrickJournal editor JOE MENO, LEGO DINOSAURS with WILL PUGH, plus more minifigure customization by JARED BURKS, AFOLs by cartoonist GREG HYLAND, step-by-step “You Can Build It” instructions by CHRISTOPHER DECK, and more!

GUY HIMBER takes you to the IRON BUILDER CONTEST, which showcases the top LEGO® builders in the world! Cover by LEGO magazine and comic artist PAUL LEE, amazing custom models by LINO MARTINS, TYLER CLITES, BRUCE LOWELL, COLE BLAQ and others, minifigure customization by JARED BURKS, step-by-step “You Can Build It” instructions by CHRISTOPHER DECK, AFOLs by GREG HYLAND, & more!

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BACK ISSUE #71

BACK ISSUE #72

BACK ISSUE #73

BACK ISSUE #74

“Incredible Hulk in the Bronze Age!” Looks into Hulk’s mind, his role as a team player, his TV show and cartoon, merchandising, Hulk newspaper strip, Teen Hulk, villain history of the Abomination, art and artifacts by SAL BUSCEMA, JOHN BYRNE, PETER DAVID, KENNETH JOHNSON, BILL MANTLO, AL MILGROM, EARL NOREM, ROGER STERN, HERB TRIMPE, LEN WEIN, new cover by TRIMPE and GERHARD!

“Tryouts, One-Shots, & One-Hit Wonders”! Marvel Premiere, Marvel Spotlight, Marvel Feature, Strange Tales, Showcase, First Issue Special, New Talent Showcase, DC’s Dick Tracy tabloid, Sherlock Holmes, Marvel’s Generic Comic Books, Bat-Squad, Crusader, & Swashbuckler, with BRUNNER, CARDY, COLAN, FRADON, GRELL, PLOOG, TRIMPE, and an ARTHUR ADAMS “Clea” cover!

“Robots” issue! Cyborg, Metal Men, Robotman, Red Tornado, Mister Atom, the Vision, Jocasta, Shogun Warriors, and Big Guy and Rusty the Boy Robot, plus the legacy of Brainiac! Featuring the riveting work of DARROW, GERBER, INFANTINO, PAUL KUPPERBERG, MILLER, MOENCH, PEREZ, SIMONSON, STATON, THOMAS, WOLFMAN, and more, behind a Metal Men cover by MICHAEL ALLRED.

“Batman’s Partners!” MIKE W. BARR and ALAN DAVIS on their Detective Comics, Batman and the Outsiders, Nightwing flies solo, Man-Bat history, Commissioner Gordon, the last days of World’s Finest, Bat-Mite, the Batmobile, plus Dark Knight’s girl Robin! Featuring work by APARO, BUSIEK, DITKO, KRAFT, MILGROM, MILLER, PÉREZ, WOLFMAN, and more, with a cover by ALAN DAVIS and MARK FARMER.

“Bronze Age Fantastic Four!” The animated FF, the FF radio show of 1975, Human Torch goes solo, Galactus villain history, FF Mego figures… and the Impossible Man! Exploring work by RICH BUCKLER, JOHN BUSCEMA, JOHN BYRNE, GERRY CONWAY, STEVE ENGLEHART, GEORGE PÉREZ, KEITH POLLARD, ROY THOMAS, LEN WEIN, MARV WOLFMAN, and more! Cover by KEITH POLLARD and JOE RUBINSTEIN.

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TwoMorrows. A New Day For Comics Fans! ALTER EGO #123

ALTER EGO #124

ALTER EGO #125

ALTER EGO #126

DENNY O’NEIL’s Silver Age career at Marvel, Charlton, and DC—aided and abetted by ADAMS, KALUTA, SEKOWSKY, LEE, GIORDANO, THOMAS, SCHWARTZ, APARO, BOYETTE, DILLIN, SWAN, DITKO, et al. Plus, we begin serializing AMY KISTE NYBERG’s groundbreaking book on the history of the Comics Code, FCA (Fawcett Collectors of America), Mr. Monster, BILL SCHELLY and more!

We spotlight HERB TRIMPE’s work on Hulk, Iron Man, S.H.I.E.L.D., Ghost Rider, Ant-Man, Silver Surfer, War of the Worlds, Ka-Zar, even Phantom Eagle, and featuring THE SEVERIN SIBLINGS, LEE, FRIEDRICH, THOMAS, GRAINGER, BUSCEMA, and others, plus more of AMY KISTE NYBERG’s Comics Code history, “Sea Monkeys and X-Ray Specs” on those nutty comic book ads, FCA, Mr. Monster, and more!

Golden Age “Air Wave” artist LEE HARRIS discussed by his son JONATHAN LEVEY to interviewer RICHARD J. ARNDT, with rarely-seen 1940s art treasures (including mysterious, never-published art of an alternate version of DC’s Tarantula)! Plus more of AMY KISTE NYBERG’s exposé on the Comics Code, artist SAL AMENDOLA tells the story of the Academy of Comic Book Arts, FCA, Mr. Monster, and more!

Second big issue on 3-D COMICS OF THE 1950s! KEN QUATTRO looks at the controversy involving JOE KUBERT, NORMAN MAURER, BILL GAINES, and AL FELDSTEIN! Plus more fabulous Captain 3-D by SIMON & KIRBY and MORT MESKIN— 3-D thrills from BOB POWELL, HOWARD NOSTRAND, JAY DISBROW and others— the career of Treasure Chest artist VEE QUINTAL, FCA, Mr. Monster, and more!

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AMERICAN COMIC BOOK CHRONICLES: The 1950s

BILL SCHELLY tackles comics of the Atomic Era of Marilyn Monroe and Elvis Presley: EC’s TALES OF THE CRYPT, MAD, CARL BARKS’ Donald Duck and Uncle Scrooge, re-tooling the FLASH in Showcase #4, return of Timely’s CAPTAIN AMERICA, HUMAN TORCH and SUB-MARINER, FREDRIC WERTHAM’s anti-comics campaign, and more! NOW SHIPPING! (240-page FULL-COLOR HARDCOVER) $40.95 (Digital Edition) $12.95 • ISBN: 9781605490540

1965-69

JOHN WELLS covers the transformation of MARVEL COMICS into a pop phenomenon, Wally Wood’s TOWER COMICS, CHARLTON’s Action Heroes, the BATMAN TV SHOW, Roy Thomas, Neal Adams, and Denny O’Neil leading a youth wave in comics, GOLD KEY digests, the Archies and Josie & the Pussycats, and more! SHIPS MARCH 2014

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The 1970s

JASON SACKS & KEITH DALLAS detail the emerging Bronze Age of comics: Relevance with Denny O’Neil and Neal Adams’s GREEN LANTERN, Jack Kirby’s FOURTH WORLD saga, Comics Code revisions that opens the floodgates for monsters and the supernatural, Jenette Kahn’s arrival at DC and the subsequent DC IMPLOSION, the coming of Jim Shooter and the DIRECT MARKET, and more!

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NEAL ADAMS vigorously responds to critics of his BATMAN: ODYSSEY mini-series in an in-depth interview! Plus: SEAN HOWE on his hit book MARVEL COMICS: THE UNTOLD STORY; MARK WAID interview, part one; Harbinger writer JOSHUA DYSART; Part Two of our LES DANIELS remembrance; a new ADAMS cover, and more! (84-page FULL-COLOR magazine) $8.95 (Digital Edition) $3.95 • Now shipping!

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RUSS HEATH career-spanning interview, essay on Heath’s work by S.C. RINGGENBERG (and Heath art gallery), MORT TODD on working with STEVE DITKO, a profile of alt cartoonist DAN GOLDMAN, part two of our MARK WAID interview, DENYS COWAN on his DJANGO series, VIC BLOOM and THE SECRET ORIGIN OF ARCHIE ANDREWS, HEMBECK, new KEVIN NOWLAN cover!

DENIS KITCHEN close-up—from cartoonist, publisher, author, and art agent, to his friendships with HARVEY KURTZMAN, R. CRUMB, WILL EISNER, and many others! Plus we examine the supreme artistry of JOHN ROMITA, JR., BILL EVERETT’s final splash, the nefarious backroom dealings of STOLEN COMIC BOOK ART, and ascend THE GODS OF MT. OLYMPUS (a ‘70s gem by ACHZIGER, STATON and WORKMAN)!

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COMIC BOOK CREATOR #6: SWAMPMEN! (2014’s double-size Summer Special) SWAMPMEN: MUCK-MONSTERS OF THE COMICS dredges up Swamp Thing, ManThing, The Heap, Lurker of the Swamp, It, Bog Beast, Marvin the Dead Thing and other creepy man-critters of the 1970s bayou, with a stunning line-up of interviews: WRIGHTSON, MOORE, PLOOG, WEIN, BRUNNER, GERBER, BISSETTE, VEITCH, CONWAY, MAYERIK, ORLANDO, PASKO, MOONEY, TOTLEBEN, YEATES, BERGER, SANTOS, USLAN, KALUTA, THOMAS, and many others. New FRANK CHO cover! Ships July 2014 (192-page trade paperback with COLOR) $17.95 • (Digital Edition) $8.95

2013 SUBSCRIPTION RATES: (with FREE Digital Editions)

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JACK KIRBY COLLECTOR (4 issues)

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BACK ISSUE! (8 issues)

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ALTER EGO (8 issues)

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$128

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